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David Tanner: Recent Oil Paintings

Opening Reception 6-9 pm

Friday May 18, 2018
 

My annual solo-show opens Friday May 18 at 6 pm in the Caboose Gallery of Crossroads Art Center. Twenty-two paintings are making their gallery debut. All work, with one exception, has been completed in the last year.  

 

Prices will be posted here shortly, and stay tuned for a pre-sale announcement. 

 

For higher resolution images of the paintings, go to the Available Work page and click on the thumbnails to view enlargements.

 

 

Crossroads Art Center

(The Caboose Gallery)

2016 Staples Mill Road

Richmond Virginia 23230

804-278-8950

Show runs thru July 8

 

Ask about Crossroad's convenient layaway plan!




 


After The Match

 

28x22" canvas size, framed in black with gold liner, 3" width
Overall framed dimensions 34x28"
 
Painted during the summer & fall of 2017; completed 2018

 






Waiting For The Light To Go On

 

24x30" canvas size, framed in black with gold liner, 3" width
Overall framed dimensions 29x35"
 
Painted during the summer & fall of 2017; completed 2018

 







Morning Sunlight in Church Hill

 

22x28" canvas size, framed in black with gold liner, 3" width
Overall framed dimensions 29x35"
 
Painted during the summer & fall of 2017; completed 2018

 







Girl With Pink Lillies

20x16" canvas size, framed in black with gold liner, 3" width
Overall framed dimensions 25x21"

Painted from life in my studio, 2017, completed 2018

 







Construction In The Alley, Mid-Summer

 

22x28" canvas size, framed in black with gold liner, 3" width
Overall framed dimensions 29x35"
 
Painted during the summer & fall of 2017

 





 

 

Lost In Thought

20x16" canvas size, framed in black with silver liner, 3" width
Overall framed dimensions 25x21"

Painted from life in my studio, 2017, completed 2018





 

 


Head Study of Justin


18x14" canvas size, framed in black with silver liner, 3" width

Overall framed dimensions 23x19"

 

 

Painted from life in my studio, summer 2017

 







Man With Violin

20x16" canvas size, framed in black with gold liner, 3" width
Overall framed dimensions 25x21"

Painted from life in my studio, 2017, completed 2018

 







Head Study of Michael


18x14" canvas size, framed in black with gold liner, 3" width

Overall framed dimensions 23x19"

 

Painted from life in my studio, summer 2017

 






 

 

 

Morocco: The Marketplace in Marrekech

 

22x28" canvas size, framed in black with gold liner, 3" width
Overall framed dimensions 29x35"
 
Painted in the spring of 2018

 

 







 

Morocco: In The Tangier Marketplace

18x14" canvas size, framed in black with gold liner, 3" width

Overall framed dimensions 23x19"

 

Painted in 2010

 





 

 


Head Study of Giampaolo


18x14" canvas size, framed in black with gold liner, 3" width

Overall framed dimensions 23x19"

 

Painted from life in my studio, summer 2017

 






 


Lemons & Teapot: Study in Yellow & White


8x10" canvas size, framed in black with silver liner, 3" width
Overall framed dimensions 13x16"

Painted as a demonstration piece, Crossroads Art Center, Winter 2018

 


 



Study of Claude


20x16" canvas size, framed in black with gold liner, 3" width
Overall framed dimensions 25x21"

Painted from life in my studio, summer 2017

 

 







Pensive

9x12" canvas size, framed in black with gold liner, 3" width
Overall framed dimensions 14x17"

Painted as a demonstration piece, 2018






 



Dashiell in Knit Cap

14x11" canvas size, framed in black with gold liner, 3" width

Overall framed dimensions 19x16"

 

Painted from life in my studio 2018

 







 

Southwest England: A Harbour in Cornwall

24x30" canvas size, framed in black with gold liner, 3" width
Overall framed dimensions 29x35"

 

Painted from life in my studio, summer 2017

 







 

Young Sophisticate

20x16" canvas size, framed in black with gold liner, 3" width
Overall framed dimensions 25x21"

Painted from life summer 2017, completed 2018

 

 




 





Young Man in White Hat

20x16" canvas size, framed in black with gold liner, 3" width
Overall framed dimensions 25x21"

Painted from life in my studio, 2017

 







Still Life With Blue Lamp

20x16" canvas size, framed in black with gold liner, 3" width
Overall framed dimensions 25x21"

Painted from life as a demonstration piece, Visual Art Center of Richmond, 2017;

 

Completed in my studio, 2018

 






 

Head Study of Matt

18x14" canvas size, framed in black with gold, 3" width

Overall framed dimensions 23x19"

 

 

Painted from life in my studio, winter 2018

 

 






Study of Jacob

20x16" canvas size, framed in black with gold liner, 3" width
Overall framed dimensions 25x21"

Painted from life in my studio, 2018

 

 









Related Posts:

Behind the Scenes: Summer 2017

Behind the Scenes: Winter/Spring 2017

Behind The Scenes: Winter 2018, Part 2

Behind the Scenes: Fall 2017

Behind the Scenes: Summer 2017, Part 2

Behind The Scenes: Spring 2018

Behind The Scenes: Spring 2018, Part 2

Behind The Scenes: Winter 2018
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Save the date! I'm preparing for my annual exhibition of new work, opening Friday May 18 in the Caboose Gallery of Crossroads Art Center here in Richmond, Virginia. Over twenty paintings completed in the last year will be making their gallery debut and going on the market for the first time. The opening is part of the Center's bi-monthly indoor gallery walk. Open house from 6-9 pm. 

Here's a preview of some of the work in the show. More can be seen on my Available Work page, where you can click on thumbnails to see larger, full images of the paintings. That page will continue to be updated as I complete work for the show in the next few weeks. 

 


Morning Sunlight in Church Hill, oil, 22x28, 2018



Head Study of Justin, oil, 18x14, 2017



Pensive, oil, 8x10, 2018



Still-Life With Blue Lamp, oil, 20x16, 2018

 

Lost In Thought, oil, 20x16, 2018


A 6x8 sketch painted on location last summer, used as a reference in the studio to create "Morning Sunlight in Church Hill"



The painting "After The Match" surrounded by some of my resources, including color sketches painted from a live session with the model, photo references to use when the model is unavailable for posing, artist anatomy books and diagrams, and a nearly life size skeleton model.

 




Sketches painted from life, used for reference in creating "After the Match"





Related Posts:

Behind The Scenes: Spring 2018

Behind the Scenes: Summer 2017

Behind The Scenes: Winter 2018, Part 2

Behind the Scenes: Fall 2017

Behind the Scenes: Summer 2017, Part 2

Behind The Scenes: Winter 2018
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Save the date! I'm preparing for my annual exhibition of new work, opening Friday May 18 in the Caboose Gallery of Crossroads Art Center here in Richmond, Virginia. I'll have over twenty paintings completed in the last year, making their gallery debut and going on the market for the first time. My opening is part of the Center's bi-monthly indoor gallery walk, and it's an open house from 6-9 pm. Here's a preview of some of the work in the show. More can be seen on my Available Work page, and be sure to click on the thumbnails to see larger, full images of the paintings. The page will continue to be updated as I complete work for the show in the next few weeks. 

 


Waiting For The Light To Go On, oil, 24x30", 2018

 

For my narrative concept paintings, I choose a model to fit the type of character I envision for the painting. This contemplative young man was perfect for portraying a character in the midst of writing in his journal. 



Detail

 


An 8x10 sketch painted on location, and then referred to in my studio (along with photo references) to create the 24x30" painting. 




Construction in the Alley, Mid-Summer, oil, 22x28, 2018

 

This scene was based upon construction activity in the alley behind my studio this summer. Only two or three workmen were usually present as the grey garage was being built, but for the painting I multiplied the figures and painted various gestures I had observed and photographed for more interest. 

Claude With Black Tie



In the studio while the painting was in progress.

 



Still Life With Lemons & Teapot oil, 8x10", 2018

 

 

Head Study of Giampaolo, oil, 18x14" 2017




Girl With Pink Lilies, oil, 20x16", 2018
 

 

In the studio while the painting was in early progress




A recent figure painting surrounded by some of my resources, including color sketches painted from a live session with the model, photo references to use when the model is unavailable for posing, artist anatomy books and diagrams, and a nearly life size skeleton model.



 


Here's the beginning stage of a head study, with rough borders and shadow masses indicated, and the beginning of a fleshy color laid in.

The first pass of color, with the surface laid in with approximate light and shadow colors.

 

Still generalizing, I've laid in more paint and begun articulating the form. 

 

 

  
The smaller elements, like the definitions of the features, cannot be addressed until there is a sound generalization of the the color masses that support those features. Only at this point, about 6 hours into the painting, can the specifics be addressed. 

 

Head Study of Matt, oil, 18x14", 2018

 

Here is the finished product, probably a total of eight hours, working from a combination of live sittings with the model and photo references I took doing the session. 






Related Posts:

Behind the Scenes: Summer 2017

Behind the Scenes: Winter/Spring 2017

Behind The Scenes: Winter 2018, Part 2

Behind the Scenes: Summer 2017, Part 2

Behind the Scenes: Fall 2017

Behind The Scenes: Winter 2018
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In March, I received notification of a Certificate of Excellence Award from the Portrait Society of America's 2018 International Portrait Competition for my painting "First Draft"! Of the 2733 entries submitted from all over the globe, there were 24 Finalists and 26 Certificate of Excellence Awards, so I'm very honored to have my work recognized. 

 

This is the third major award given to this painting since its debut. It has also received The BoldBrush Award in the BoldBrush Painting Competition, August 2017, and 6th Award of Merit in the Portrait Society of America's Member Only Competition, 2015. 

 

I've included the letter from the Portrait Society:

 

"Dear David: 

 

It has been a record setting year for the Portrait Society of America. February 1st marked the beginning of our 20th year sharing a passion for the portrait, as of today we have almost 1,000 people registered for the annual conference, and at midnight on February 22 we surpassed our previous number of entries by over 400 – with 2,733 entries submitted to the International Portrait Competition.  Portraiture is alive and well!


Thank you for submitting your work and being part of such a historic time in our organization. With over 2,733 entries submitted, we are also pleased to report the overall quality of the competition entries were the highest we have seen. 

 

Our goal in creating our annual exhibition is to display some of the finest portrait and figurative work being created today and to inspire and energize artists from all over the world. Using an established criterion: masterful skill in the chosen media, originality and uniqueness in the concept and design, aesthetic sophistication and cultural significance, a panel of three judges diligently reviewed each entry and found many works that fit these criteria. They also thoughtfully worked to find a balance showing a variety of styles, techniques and aesthetics. 

 

In addition, they looked for Empathy: sensitivity toward their subjects; Transcendence: ability to describe, in subtle ways, more than might initially meet the eye; and Vision: unique point of view in the concept and design.

 

Whether the work was a head and shoulders, mixed media, traditional oil, impressionist, charcoal, watercolor or experimental the judges applied the same criterial to each work. It was a difficult process to narrow down such a large and diverse group of 2,733 works to 100. After six rounds of evaluation they selected 24 finalists to bring their work to the conference for on-site judging, 26 certificates of excellence for special recognition and a Select 50 work that had distinction.

 

We are pleased to tell you that your artwork entitled First Draft, 24x18", Oil was one of the 26 artworks that was judged as outstanding, and awarded a Certificate of Excellence award. While selected Certificate award winners do not bring their original works to the annual conference, there are number of ways that we recognize your skill and talent:

  1. Digitally Presented as Part of Opening Ceremonies

At the opening ceremonies during the 19th Annual The Art of the Portrait, your work will be shown digitally as part of a PowerPoint presentation.

 

      2. An opportunity to accept your Certificate of Excellence on stage at the annual Gala Banquet

We invite you to attend the weekend activities as well as the gala banquet and awards ceremony and accept your certificate on stage

 

      3. In Publications and Social Media

In addition to a digital presentation of your artwork at opening ceremonies and at the Awards Banquet, an image of your work will also appear in the second quarter The Art of the Portraitjournal, read by our members and artists internationally. We will also be announcing the finalists and Certificates of Excellence on social media.

 

Sincerely,

 

Kim Azzarito

Assistant Director/Event Coordinator

Portrait Society of America


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I recently completed a portrait of Richmond philanthropists Neil & Sara Belle November, commissioned by Virginia Repertory Theatre (commonly referred to as VA Rep), and now hanging in the lobby of The November Theatre. It was officially unveiled on January 31 at a luncheon for Sara Belle’s 90th birthday held at the John Marshall Hotel. It was later installed in the lobby of the theatre on February 16. 

 

I had been approached by Bruce Miller and Phil Whiteway of VA Rep close to two years ago for a three-quarter portrait of the couple. After some initial meetings with the Novembers in their home, the portrait finally got underway last summer. By this point, Mr. November had been too ill to pose, so I had to work from a combination of provided photographs for the head & shoulders, and model stand-ins for the figures from the neck down. My models assumed positions that I could then combine with the head references, and I set all of this into a context with the theatre's facade as the backdrop. 

 

I was very sad to learn of Mr. November’s passing last week. The Richmond Times Dispatch put it this way: “A legacy of accomplishment all over the Richmond region: Philanthropist extraordinaire Neil November dies at 93”. I was very honored to paint the portrait and I’m so glad that Neil got to see the finished product. I only got to know him briefly during the course of the project, but he was quite a guy. And the generosity that he and Sara Belle have demonstrated (for decades) in their support of arts, culture, and education is really a remarkable legacy. RIP, Mr. November.

 

 

Neil and Sara Belle November, oil, 30x40, 2018

Collection of Virginia Repertory Theatre

 


Detail from painting

The painting was publically unveiled on January 31, at a luncheon for Sara Belle November's 90th birthday, held at the John Marshall Hotel in downtown Richmond. Left to right, from Virginia Repertory Theatre: Phil Whiteway (Managing Director), Nathaniel Shaw (Artistic Director), Bruce Miller (Founding Producer). The the right of the portrait: Sara Belle November, Neil November, and the painter.


The painting is now permanently placed in the lobby of The November Theatre at VA Rep, 114 W. Broad Street, Richmond 23220

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New Video Interview

 

In October, Jenni Kirby, owner of Crossroads Art Center, visited my studio for a filmed conversation on my work. Two videos were shot that afternoon, dealing primarily with painting small sketches from life to create larger works back in the studio.

 

As an added bonus, there's an additional interview with some advice for artists on entering their work into national competitions.

 

Each video is only a few minutes long, but they're packed with information you may find interesting as an artist or an art lover. Click the images to check them out!

 

VIDEO: Figurative work and the importance of preliminary sketches

 

 

VIDEO: Using plein-air studies to create larger pieces back in the studio

 

 

VIDEO: Bonus: The value of national competitions & exposure

 

 

 

 

Recent Awards

 

I'm happy to report a top award and an honorable mention from the Boldbrush Painting Competition for August!

 

First Draft, oil, 24x18, 2015
The BoldBrush Award, BoldBrush Painting Competition, August 2017, Juror Tony Pro

 

 

Michael at the Easel, oil, 24x18" 2016

Favorite 15%, BoldBrush Painting Competition, August 2017

 

 

 

New Painting

 

Here's the painting featured in the first video. It's 24x30" and was begun in August.

The working title is Waiting For The Light to Go On, and it will debut 

in my annual new work exhibition, May 2018.






Related Posts:

Behind the Scenes: Summer 2017

Behind the Scenes: Summer 2017, Part 2

Interview on PBS-TV "Virginia Currents"
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Plein-Air Studies

 

I experimented this summer with a number of small outdoor palette knife studies.  I’m loving the speed the knife makes for a quick, simple statement, and it's a great way to explore ideas that may result in larger studio paintings. My palette here is eight colors (plus Titanium White & Ivory Black): Quinacridone Red, Cadmium Red, Indian Yellow, Yellow Ochre, Cadmium Yellow Light, Prussian Blue, Ultramarine Blue, and Transparent Red Oxide (all Gamblin Artist Colors).

 


Here’s a 4x5 inch study painted with a palette knife on the grounds of Tuckahoe Plantation, June 27, 2017



More 4x5 inch palette knife studies painted on the grounds of Tuckahoe Plantation, June 27, 2017



A 6x8" palette knife study painted in historic Petersburg, September 21, 2017


Here are three studies painted on location to better understand a larger painting I may tackle back in the studio. The first was a tiny pencil sketch, about 1.5 x 2.5", created to understand the compositional layout of the scene. The second was "tonal map" using just dark paint to understand the abstract qualities of the interlocking light and dark shapes in the scene, about 4 x 5". These led to a 6x9" color study created with a palette knife and brush to understand the basic color relationships. Painted June 29, 2017.

 


Recent Model Studies

 


Study of Justin, 18x14"
Painted July 19, 2017

Study of Michael, 18x14"
Painted August 9, 2017


Study of Stuart, 18x14"
Painted July 26, 2017


Nose & lip study from model, September 15, 2017, 6x8" each


August 1, 2017, preliminary sketch (10x8") painted as a reference for a larger studio painting now in progress

Inside Collector Homes

This summer, I visited the homes of two local Richmond collectors. It's great to see how the owners have included my work in their interior design. Here's a continuation of collector's spaces I shared in my previous blog.

 
My 2013 painting Afternoon on the Outer Banks in the collector's den
 

My 2017 painting Fiddler on The Balcony and 2012's Young Man in Cowboy Hat over the collector's sofa


My 2014 painting Turn over the collector's fireplace



"Under 800 Series" Updates 
 
In March I launched a new blog called the Under 800 Series. Several newly added paintings under an $800 price-point are newly featured, including the study below. Click the painting to see more available work under $800.






Related Posts:

Behind the Scenes: Summer 2017
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Plein-Air Richmond

 

This summer began with my involvement in Plein-Air Richmond. Artists from various parts of the country submit work in advance to be accepted, and I was fortunate again this year to achieve participation. Along with twenty-five other painters (only six of us were from Richmond), five days in late June were spent on suggested locations around the city, culminating in a juried exhibition and competition.  Here's some of the work I produced: 

 

Morning on Main Street 

Oil on canvas, 2016

11x114" canvas size framed in black with gold liner, 3" width

 

This was painted over the course of two mornings near the corner of Meadow and Main Street. Across the street is the iconic Sticky Rice restaurant. 


Painting on Main Street, using my car as a portable studio. You can see the top of  Stickey Rice over the hatch of my car. 


As I was standing on Main Street to paint the other scene, I couldn't help but notice the charming Main Street Mercantile Barber Shop to my left. The friendly owner took the photo of me painting, and we chatted a bit. I was welcome to use their facilities and refill my water bottles, which is an opportunity you never turn down when painting in outdoor locations!

 

One of the barbers agreed to sit for a few moments during his break, and I quickly sketched him in pencil on a small pad.  After he went inside, I translated the pencil sketch into a quick painted figure in my painting, and the pose inspired the title of my next painting, Barber Break. 

 

Barber Break 

Oil on canvas, 2016

12x9" canvas size framed in black with gold liner, 3" width

 

 

 

Hazy View From Libbie Hill

Oil on canvas, 2016

9x12" canvas size framed in black with silver liner, 3" width

Libbie Hill Park in historic Church Hill provided this vantage point one hazy, humid afternoon.

 

 

 

Kitchen House at Tuckahoe Plantation 

Oil on canvas, 2017

11x14" canvas size framed in gold panel, 3" width

Historic Tuckahoe Plantation (boyhood home of Thomas Jefferson) was a suggested location for Plein-Air Richmond and I visited twice to paint it's picturesque grounds. 

 

Painting the Kitchen House 

 

 

Outbuildings at Tuckahoe Plantation 

Oil on canvas, 2017

12x9" canvas size framed in gold panel, 3" width

 


 During the Friday night awards reception & exhibition at Brazier Gallery, I received Honorable Mention from competition judge Peter Trippi, Editor-in-Chief of Fine Art Connoisseur for my painting of the Tuckahoe's outbuildings. 


Inside Collector Homes

This summer, I visited the homes of two local Richmond collectors. It's great to see how the owners have included my work in their interior design. 


My 2012 painting In The Garden over the mantel, flanked by two of my head studies


My 2010 painting Siesta over the sideboard, and a study of a local restaurant by the door


My 2013 painting of Richmond Ballet dancer Phillip Scaggs over the fireplace

With my 2010 painting The Laundry Line in a collector's dining room


"Under 800 Series" Updates 
 
In March I launched a new blog called the Under 800 Series. Several newly added paintings under an $800 price-point are newly featured, including the study below. Click the painting to see more available work under $800.


Recent Exhibition

My annual exhibition of new work closed on July 8, but you can still check out a video gallery tour and blog page listing each work included.






Related Posts:

Annual New Work Exhibition 2017

Video: Annual Exhibition of New Work, May 2017
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Here's a three-minute video "virtual gallery tour" for my Annual Exhibition of New Work, May 2017. Gallery shots and details of paintings provide an experience almost as good as viewing the exhibit in person. For a complete set of price & size information, visit my Annual Exhibition blog for May 2017.

 

Crossroads Art Center

(The Caboose Gallery)

2016 Staples Mill Road

Richmond Virginia 23230

804-278-8950

Mon-Sat 10-6

Show runs thru July 9

 

 

Annual Exhibition of New Work, May 2017 - YouTube






Related Posts:

Annual New Work Exhibition 2017
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