Have you seen the movie, Ford vs. Ferrari? Anne and I took it in last week and enjoyed it much. Afterward we checked out a website that compared fact from fiction, though I already knew how true it is. I worked for Carol Shelby, the force behind all of this.

The Daytona Coupe, a race-track-enhanced version of the classic Cobra.

I dedicated a spread to my brief time at Shelby in the book, Our Lives Together, The Early Years (available on Amazon or on this website).

A “section drawing” was a school project, learning that paid off in my work on the Daytona Coupe.

It was my first job after a two-year course in technical illustration at Trade-Tech in Los Angeles. I was 20. Anne and I were only just beginning to be “a thing.” I was driving a Triumph TR3, going to races, and amassing a collection of speeding tickets.

Here’s a freeze frame from a video interviewing Carol Shelby. I was watching it one day and suddenly: “Hey, that’s me.”

Here’s one of my drawings. I worked directly from the altered Ford parts, making blueprints for Detroit to understand the changes.

I’d been hired by chief engineer and unlettered genius Phil Remington, who (opposite from usual) was much better looking and more manly in real life than depicted in the movie. My job was to make accurate technical drawings of the speed modifications to the already huge Ford engines. Detroit wanted to see what California was doing. I did this until I completed them all and then went to work for Pete Brock, the styling designer.

Another of my drawings. It’s the Daytona Coupe before it became reality. I still have the full-size blueprint.

Pete, having already made his mark in Detroit with Corvette, made a series of beautiful freehand drawings in colored chalk from which Ken Miles chose his favorite. Ken Miles features large in the movie, as he should, being the winningest race driver of the time. My job was to make this life-size “section drawing” from which to build a plywood “buck” on a Cobra chassis.

Here’s the buck with the three of us that worked on it . . . I’m the one in the sweater. I found the photo on the Internet when producing Our Lives Together. (Click to enlarge.)

(By the way, this is where I was working the day Kennedy was shot, always a memorable moment.)

From here aluminum was formed over it for the first prototype. After that, just nine cars were built, and became very rare classics. Is that me, in that same sweater, bent into the car? Maybe.

One more, this one discovered on the documentary of Carol Shelby.

Check out this video of the Daytona Coupe . . . just to give a taste of the look on the track, and especially the blood curdling sound.

Cobra Classic, oil, 12×16. With my loose painterly approach, I’ve come a long distance from exacting technical illustration of the early years.

PS. By coincidence I recently made a few paintings of sports cars, including this Cobra roadster. I only drove one once, out on an empty airstrip. From a standing start, it’s the fastest thing I’ve ever experienced. For other cars I’ve painted see the Star Motors collection on my website, here.

PPS. For those of you on the Blank Slate list (my writing blog), I just came across another significant benchmark for the age 27. It turns out that Raphael was just 27 when he did his first major mural, “The School of Athens.” Pretty impressive, and 27 a pivotal year, the year that got my life turned around.

Feel free to share with any who like the movie, or anyone else.

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The two-day fall show was a delight and a pleasure. The house was pleasantly full most of the time, many just coming to look and to visit. Some found things to purchase. We enjoyed it either way.

Here’s an overview of what left the house with happy art lovers. Some were collectors previously, thus, the “again” in their caption; most were new. All now have something they will be enjoying for a long time. A few pieces got away without photographing so they’re not shown here.

Glass Table, renamed Relaxed and Elegant, oil, with congratulations to Laura Pederson. (As with all, click to enlarge, maybe twice.)

Piece of the Moon, monotype, with congratulations to Marcia McPhate.

Golden Graze, oil, with congratulations to John and Heather Beall.

Mindful Meddling, monotype, with congratulations to Louise and Dennis Delaney.

A Moment’s Distraction, oil, with congratulations to Julie and Chuck Ranson.

Chaotic Clarity, monotype, also to Julie and Chuck Ranson.

Oranges and Lemons, oil on unstretched canvas, with congratulations to Charlotte Ranson.

Bright Outlook, oil, with congratulations (again) to Pat MacDonald, who also purchased a beautiful red rose still life, unphotographed.

Mustering Meaning, monotype, with congratulations to Donna Sommer who, with husband Bob, purchased three.

Field of Vision, monotype, to Donna Sommer.

Traveler’s Tales, monotype, a third to Donna Sommer.

Mother’s Lap, oil on unstretched canvas, to Cricket Jamet, long a collector.

Piering Through, oil, congratulations to Dee and Anna Abell.

Follow Me, print on canvas, also to Dee and Anna Abell.

Flamenco Pause, oil, congratulations to Jennifer and Norman Kyle, who first saw it at Starbucks and purchased it a week before the show.

Plains King, oil over acrylic, also to Jennifer and Norman Kyle.

Edwardian Beach, Looking Left, oil, congratulations to Pat Geretti. (A match is still available, “looking right.”)

Shell Seeker, print on canvas, also to Pat Geretti.

Nepali on Cherry Wood, oil, congratulations to Karen Murphy.

Flamenco Fiesta, oil, also to Karen Murphy.

Premise and Proof, monotype, congratulations again to Susie and Carl Hess.

Gossamer Gleanings, monotype, also to Susie and Carl Hess.

Four Still Lifes on Cherry Wood, oil, to Susie and Carl Hess, for their two daughters, away at college.

Red Poppies, acrylic on paper, with congratulations to Janice Ehlers.

Sunflower Radiance, oil, congratulations again to Judith and Gary Bowman of Mt. Pleasant, Texas, who for the second year took the risk of purchasing having only seen the works online. They love them all.

Also congratulations to Nancy Jenkins who purchased five small works as well as Toni Nelson and young Emma each of whom bought one, but none photographed.

The next studio show will be in late spring. In the meantime, the house continues to function as a gallery, entertaining guests whenever they come. A phone call or a text is appreciated first (949-290-8643). And everything’s always available online, viewable on the websites. If you find anything of interest, just call or email and we can take it from there (moore@hyattmoore.com).

Most of all, we’re grateful for your friendship. More important than art.

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I saw this billboard in Texas: “Your wife called, said to pick up some diamond earrings on the way home.”  It was followed by the jeweler’s name. I thought it was pretty funny.  Who knows how effective it was, but it might have gotten some loved ones thinking about gifts for another. I can’t help but see the tie in with our big discount-price show this weekend.

Here’s a preview of how some of the rooms are shaping up, each with its own theme. Abstracts adorn the living room wall going up to the loft.

In a space to herself is Yellow Fields Blues, my second rendition of this beauty, in different colors, under a relic Mexican hat and above a defunct clarinet.

Placement is the challenge in hanging a show: how to get a lot up in limited space without looking crowded. We rearrange walls all the time. When someone says, “I have no more wall space,” I just say, “Rearrange.” There’s always space.

A rendition of the mission at San Juan Capistrano with my own take of colors, here among various artifacts of Guatemala, Peru, and a rooster which I believe I got in Jakarta.

One of the walls in the office: landscapes of California and Wyoming, and a painting of a girl looking at a painting.

In the dining room-kitchen, an abstract (above the saddle) paired with a semi-abstract . . . and, through our door from Bali, some of Anne’s works in the guest room. (As with all, click to enlarge.)

Speaking of Anne’s prints, here are three handsome pieces hanging under the Masai spear I carried home from Kenya one year. All of them over a hand-made Mexican table and a cement French clock that hasn’t worked since the Revolution.

More of Anne’s work in the master bedroom. While she uses high quality non-reflective glass in her framing, it’s hard to photograph any art under glass. You have to see these in person to fully appreciate.

I will have a number of works unstretched, like this black, white and cream abstract. It’s not unusual for me to do this, the stretching happening later at the framing stage. I also have lots of “flat art,” basically pieces mounted on paper, like the few shown on the desk here.  BTW, that lamp shade is one of Anne’s creations with her printmaking technique (nfs) and daughter Allison’s wall art from when she lived in that room.

There’s no hallway without art hanging in it. Here in the upper level are mostly figurative works, and figurative abstract, another favorite genre of mine.

One more, an impressionistic landscape from you-decide where, here with a menagerie of small artifacts from many trips, and an old trumpet “just because.” Not shown an any of these photos are also lovely still lifes and bold westerns.

Actually there are well over a hundred works on display. As advertised, it’s a half-price sale for all paintings. Anne’s work is also discounted. So don’t miss it. And consider shopping online. If you find something on the websites, write me an email and we can discuss it. That’s hyattmoore.com and annesprints.com. Email: moore@hyattmoore.com.

Here’s the invitation.

PS, I think your wife just called. I think she wants a piece of art for Christmas. Or was it her birthday? Or anniversary. All three?

If none of the above, just come to look around and enjoy the friendship. I know you’ll love it, and we’ll be happy to see you.

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No, I’m not going out of business, but one of the galleries showing my work closed this year. It was a long standing institution, well reputed and frequented, especially by the design community. The rent got too high. As a consequence, all the art I was showing there was returned to me. It’s partly for this reason that we’re hosting a BIG sale…as in 50% off the paintings! (See invitation details below.)

Many of the works available aren’t even on the website. These are not framed but shown mounted on paper, which is how the gallery liked to present them. The client then got to choose their own frame. The above are from our travels in Oregon and Venice. (Click for larger view.)

Small still life paintings like the above are popular among the design community and look quite stunning once framed. We’ll have sample frames at the show for the sake of visualization.

Another popular motif is florals, a subject I paint with gusto, my style for such being loose and vibrant.

Of course, faces and figures are among my best known genre and we’ll be showing an array of such, some representational, some more abstract.

And dancers, the human form in motion, another favored topic suited to my loose approach, brush strokes flying with the same energy of the flamenco rhythms.

Here’s an informal array of Anne’s work, much of which will also be available at sale prices, particularly her earlier work.

Here’s the announcement as it’s posted around town. What it doesn’t say is that it’s a half-price sale for all paintings.

Feel free to shop online and if something strikes you, send me an email: moore@hyattmoore.com.

Better yet, come next weekend, either day, and feel free to bring a friend. It would be great to see you.

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Once again we’re hosting a studio show with discounted prices. That’s half price for all my paintings, and special deals on Anne’s artwork. And you can shop online. Between now and the show, November 23-24, look at the prices shown on the Hyatt Moore website and divide by half. If you find something you like, contact me at: moore@hyattmoore.com.

Our motivation for the special prices is to clear space and to help get good art into homes and offices. There’s nothing like original art to enhance any space, and all the more if you know the artist. If not completely satisfied, you can return it for full refund.

Here’s a Testimonial

This from Judith Bowman of Texas whom I’ve never met in person. Judith bought a number of works online last year and is now buying another. She’d never seen any of the pieces she purchased except on the website.

Your work? Love the movement and depth experienced from them. The escape offered. Have often walked along in contemplation and delight, splashing with the lady under the umbrella; experienced the almost arid, beachy yet lovely Aussie landscape; chatted with a friend after an intimate lunch at the dining room table – your flowers the centerpiece; and recalled the many Montana Indian reservations we so often traveled through when our lives were there. The barn? Refreshing! Must have been, unbeknownst to me, drawn to the sunflowers for the boldness. Oh, I also absolutely do love your people and one day . . .

So, there’s a satisfied art buyer. For a look at the pieces she purchased, see “Collectors” and scroll down to Gary and Judith Bowman.

Some Samples on Sale

Click for better view of rich color, texture and strokes.

Orange Blue Pitcher 1, oil on canvas panel, 9×12.  Gallery price: $750, this one framed.  For this and many other still life paintings, all at 50 percent of the listed price, see Hyatt Moore Still Lifes.

An impressionist painting, the red tile roof color delightfully exaggerated. Click it.

Red Roof Palms, 12×16, oil on canvas.  Painted en plein air at San Clemente State Beach. Regular price: $675, available for half that during the sale.  For other available landscapes go to Hyatt Moore Places.

Click for better view of vitality of brushstroke and richness of color.

Bright Outlook, oil on panel, 9×12 on canvas panel, regular price $525, cut to half for the sale. For other paintings of people, some realistic, some impressionistic, go to Hyatt Moore Figures and Faces.

Beautiful and rich in paint you can feel. Click it; better yet, come and see.

Let Your Words be Few, those word etched right into the paint.  Oil on canvas, 29×24.  One of a series of strong designs.  Regular price $1850, cut to half for the sale.  For other abstracts go to Hyatt Moore Abstracts.

An impressionistic landscape along the lines of the French masters. Click to enlarge.

Glistening Peace, oil on canvas, 24×36. An impression from one of our trips to Idaho, but could be many places.  A mid-size painting, gallery price: $2100, reduced to half for sale.  For more landscapes of different sizes, see Hyatt Moore Places.

These are just a few samples of the many works on sale, and discounted for the show. Again, feel free to shop online and contact me about any that strike your interest. Email: moore@hyattmoore.com.

Anne’s monotypes will be available, also at discounted prices.

California tax may apply, plus shipping if needed.

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Once again, Anne is in the news. This time it’s the inclusion of her work in the prestigious niche journal, Letter Arts Review. Though Anne has not considered herself a calligrapher, she often uses her elegant handwriting and script-like linocuts in her artwork. Called “asemic” writing, these pseudo letter forms imply text without actual meaning. It’s a design element she uses as part of the intrigue and beauty.
Calligrapher, teacher and writer Mike Gold was looking for artists who use calligraphy in non-traditional ways for his LAR article “Unfettered Letters.” Mike found Anne’s work on Pinterest, where she has hundreds of followers. The four pages featuring Anne’s prints are shown here, as well as the author’s words.

Also, our fall open house and show is coming up November 16 and 17. See the full announcement and invitation at the bottom.

Cover: Letter Arts Review, Volume 33, Number 3, Christopher Calderhead, editor.

From the article: Although Southern California artist Anne Moore does not consider herself a calligrapher, there is an unmistakable calligraphic quality to her art. Because Anne is a printmaker, which she has been since the mid-1990s, her calligraphic symbols and marks are created with linocuts and “trace monotype” printing. “I enjoy the contemplative experience of carving linocuts, which I use to create both texture and focus in my layered, one-of-a-kind monotypes.”

Works featured, left page: For the Common Good (sold), Covert Commentary, Echoes of Yesterday and right page: Meditation.

(the article continued) “Because my linocuts are used to both add and remove ink, I discovered early on that making up asemic symbols gave me more options to play with. I also use ‘trace monotypes,’ basically creating my own carbon paper, to add script and line imagery as design elements.”
Anne’s interest in linguistics and writing systems influences her work. “I love the beauty of written form aside from meaning,” she says, “though I hope the viewer is piqued by a sense of memory and mystery.”

Left page: Sheltering in Place (sold); right page: Written on the Wind (sold) and Poetic Profile.

(continued) As for the intention of her art, Anne says, “Sometimes I think my purpose is just to discover what happens when I layer inks and different texturing materials, but most often I am looking for beauty, mystery, and palimpsestic references. Calligraphy is one of the design elements I use.”

That’s the article. I had to look up “palimpsestic” and found that it refers to something having diverse layers or aspects apparent beneath the surface. Anne’ prints definitely hint at a layering of messages.

As indicated in the captions, a number of these works have already found homes, thus marked “sold.” The others are linked to her website. For the full array of availability, go to Annesprints.com. For prices and further information, email Anne at anne@hyattmoore.com.

_______________________________________________________________

NEXT:
Here’s the announcement and invitation to the Studio Show and Open House.  It’s always a great time for friendship and fun.  Mark your calendar and plan to come . . . either Saturday or Sunday.

SPECIAL OFFER:
Once again, this will be a half-price sale for all paintings.
Shop now at hyattmoore.com, cut those prices in half, contact me via email at moore@hyattmoore.com and we can talk about it.
This offer begins now and will continue through the last day of the show.
It’s a perfect time for a Christmas present, for someone special, or for yourself. There’s nothing like original art.

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Last month we went to Maine, just because we’d never been. We loved it. And because we hadn’t been to Vermont either, we went there, too. Then someone suggested we visit Montreal, being close; so we did. While exploring the city, we remembered that Dolcezza was there, the clothing company which had contacted Anne about using some of her work in their fall clothing line. She’d agreed, signed forms, sent digital images, approved the fabric samples…and then waited. At this point we’d not seen any results, so we thought, “Let’s go drop in on them.” We were so glad we did.  They gave us a wonderfully warm welcome.

Random Acts, shown here, is one of the two pieces they chose. They’re quite particular as to what will work in what seasons and in what world regions, especially in terms of color.

A page from their catalog. The image of this print was used on a half a dozen articles, from shirts to pants to scarves and even a great jacket.

Here’s the catalog, featuring lines of a number of other artists’ work as well.

Another catalog spread with the use of professional models and photographers. Pretty classy.

Semantic Memory (above) is the other print they chose.

Back home, dressed in Random Acts, and (right) drinking tea in our back yard in Semantic Memory.

Another, here on our front porch, the blue top of Semantic Memory.

Each garment comes with a tag with Anne’s picture and a short bio, in French and English. (As with all of these, click for a larger view.)

Here is the president of the company and the prime designer of Anne’s line paging through the catalog during our hour’s visit.

This threesome is the main design team. Not shown, but also present, was their chief sales rep for Quebec who boasted that Anne’s jacket was his top seller this season.

As for where these clothes are available, they have a website but don’t sell online, rather through a network of stores internationally.

Ending the day and before leaving Montreal we found a street of eateries and selected one.

Here was Anne’s choice: quinoa and salmon with an orange vinaigrette.

One more, the day following our Montreal visit, Anne in her new parka back at the perfect hide-away where we’d stayed in Vermont.

For more of Anne’s work, go to www.annesprints.com.

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Once Again Anne’s work is featured at the famous Festival of Arts in Laguna Beach. This summer’s show has been going since the fourth of July and will continue till the end of August. Happily she has been enjoying sales, as well as the time she spends on the grounds, most late afternoons and evenings.

Printmaking is a unique art. When people take it in long enough to really see it, they’re generally completely engrossed at what goes into it, not the mention the result in design and texture and pattern and color. (As with all, double-click photo to enlarge.)

Here Anne explains printmaking to an interested passer-by. Hundreds of guests mill about and check out the great variety of art being shown by many artists. That’s after, or during, the live music concert going on at the same time, or before they take in the Pageant of the Masters that happens on the same grounds every evening.

This year’s new thought was to bring Anne’s smaller press (the one we travel with) to present as part of the display. It adds interest and can facilitate in understanding process. Note also her book displayed here, available in the festival book store (and on this website).

She changes the array of framed pieces from time to time. They are the main attention-getters (not the mention the artist, herself) though so far this year most of the sales have been from the bin.

The whole event is fun and inspiring. Some bring food and wine, find a table, enjoy the music, then take in all the art. It’s open from 10:00 in the morning, throughout the day and into the evening. It would be great to see you if you come. Find her at #104.

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It was time for a road trip. The studio show had come and gone, I’d packaged up a number of pieces for shipment, spoken at the opening of a show of my work at Saddleback Church, said goodbye to house guests, and last Sunday gave my Beatitudes presentation at Gloria Dei Lutheran. With that behind us and Anne getting ready for a full summer at the Festival of Arts, it was time to get a break in while we could. We’d put it on the calendar before we even knew where we’d go. Then we thought of our friends Jeff and Cathy Girard who have recently purchased a mountain “cabin” in Midpines, near Mariposa in the California Sierras.

They were gracious to offer it as a place to stay while we planned to venture into nearby Yosemite. Then we thought, “Why not take our work things and make it into an art-making venture, even if it is only three days.” So that’s what we did. We can always do Yosemite another time; this is what we really like to do.

Imagine, if you can, full days with no sound but wind in the trees, the only neighbors a few horses, large rabbits of the ‘jack’ kind, sunset-scurrying ground birds, occasional deer, buzzing bees in the flowers, and the profusion of clear-sky stars you almost forgot were there.

We’d take the occasional walk, saw no one, just hills of pines and live oak and the likes of this manzanita.

Along with the living was the dead, one as intriguing as the other.

It’s no wonder the bees would be drawn to such pollen bloom explosions as these. They, like us, stayed busy.

Manzanita everywhere. We’ve never seen it grow to such height as seems to be common here.

It’s like endless variations on a theme, the bramble and twists and colors. What Artist has been here before us?

But we do ours and try our best to make it good. Here’s some of Anne’s printmaking materials drying on the deck after a day of use.

We found the Girard cabin (actually a house) very functional for rearranging into two studio areas. Here Anne works on details of a print. She brought smaller pieces this time, what with the shortness of time.

Here’s a partial array of her production, all of which she’d begun before, now hoping to bring them to completion. As I said to her, “Who’d have thought you’d become a printmaker, and then such a superb printmaker?!”

Meanwhile, on my side, I worked on large pieces.  As a point of information, and I might as well say it here, as of now I’m no longer in the Sandstone Gallery in Laguna, where I have been for years and Anne will continue to be. The leaving was on good terms, but I decided the time had come. These works are intended for another gallery which wants large pieces, unstretched.

I worked in acrylic, paint that dries fast enough that I can roll up and transport the large works easily. I always say I’m really an oil painter that uses acrylic sometimes.  And sometimes it really is best. This one’s called Taking a Break and is 50×40 inches with a three-inch border for stretching. (Click on it, and again, to appreciate all the texture.)

I’d brought along a sheet of 3/4 inch plywood to pin and tape the canvas on, as well as some drop cloth. That, and a bit of improvising, worked fine for a “studio.” Here I’ve got the background color in, the rudiments of a charcoal sketch to give me an idea of where I was going, after that it was all trial and error. (See prayer below.)

It was Anne who helped me on this one; she recognized it as “done” when I would have kept on going. It was a case of two people being required to make a painting, one to hold the brush and the other to take it away before it’s ruined. I’ve named her Gown Girl, also 50×40 inches. (Click to enlarge.)

Why not close with a sunset? It’s what God likes to do. Which reminds me: the prayer. I voiced it the morning of the final day, taking a break from the painting of the same name and knowing it needed something but not knowing what:

“Lord, with your great ability and delight in such manifold beauty, creativity and interest,
would you not be just as pleased to manifest such through me?
I know it is me that limits
by my fears to risk,
that thinks I can’t,
that’s afraid to wreak.
You seem to create with such joyful abandon;
why not me too, imitating you?!

That was my prayer. Then I went back inside and, with new abandon, finished my painting. Much better.

We’re grateful for all things.

__________________

PS That show at Saddleback Church in Lake Forest is up for two months. It features some of my major works, including the original of The Last Supper with Twelve Tribes, Five Biblical Women, and The Beatitudes.

Speaking of the latter, if anyone knows who might be interested in the presentation, let me know. A preview is here.

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In March we were in India for a week—in Delhi, Agra and Varanasi, as well as a couple of villages. With all the (i-phone) photos we took it seemed only right to make a book. So I did, just one copy. Here’s a good chunk of it for your enjoyment. You can always click on a photo for a more satisfying view.

Title page: As always, we bought a few artifacts, like this relic wooden horse.

The wondrous water reflections on the Ganges. (Click to appreciate.)

One of the most opulent places in the world. It met all expectations.

Some people came just to be photographed in the majestic setting. (Click it.)

For me, weathered walls were part of the intrigue and beauty everywhere.

Then there were the tangles of electrical wires, apparently ever added to.

Traffic. Need I say more? No lanes. Rear-view-mirrors never used. Honking constant. Any hurry, useless. But with “responsibility” high, accidents are few.

Loved these two shots in the grand Jama Masjid mosque. (Click to enlarge.)

Giant doors to the giant mosque. Note the visitor carrying her shoes. We all did.

Another wall of peeling paint, like one of my recent abstracts (see last blog).

Alcoves at entrances and a very tidy if poor living space. Click to appreciate.

A tricycle transport for feathered friends, doors, and sisters who posed.

No two alike, every village woman the Queen of Sheba in daily wear. (Click it.)

We were told every village is different, and there are many Indias in India.

Beds set outside as well as in, though we saw very few chairs anywhere.

Local business facing the streets while shoppers and lookers enjoy the life.

We flew from Delhi to Varanasi to see Hinduism at its epicenter on the Ganges.

Arriving at dawn, we checked out the pilgrim activities then boarded a boat.

The warm light of the rising sun, a wonder for the eyes and cameras.

Devotees in abundance, some with cups out for alms, some with shaved heads.

Two monks being tourists themselves; these were taking i-phone photos.

Art is apparent everywhere you see it, or at least when you crop it.

Rituals and prayers and long shadows in the sun.

Snake charmer (left) and a morning donor with a bag of rice giving kernels.

Two relics. You really need to click to see (as with all of these).

Anne (right) always cautious where she walked; the locals didn’t care.

Fast food anyone? A few outdoor kitchens and a couple of newspaper readers.

Colors everywhere, nobody minding the i-phone quickly aimed their way.

One more of a great and ancient door.

Final page. As the caption reads: The traveling couple at the sacred site. A sacred marriage still going strong.

That’s it.

Oh, and here’s a new one that was trip-inspired.

“On her Way,” oil on canvas, 37×26. 

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