Old New Orleans

24x12 oil on panel

Ask Tidewater Gallery about this painting.

Is Paco In There?

12x9 oil on panel

Available at Castle Gallery

Reframed, signed, varnished and sent to Castle for their Holiday Show opening Dec. 14.
More about the painting here.

Kerrville Quick Draw

Is Paco in There?

12x9 oil on panel

I've been painting in Kerrville Texas this weekend and enjoying some spectacular hill country views. Last night was the quick draw event in historic downtown. I think I heard that 25 artists participated. 

It was hot. Very hot. And I chose a scene looking west into the sun. Not ideal but my painting worked out well. We had an hour and a half then put the paintings in frames and presented them for judging. 

I won again this year. Lucky 13, huh? Crazy! 

But I'm so honored. There are a lot of talented artists here and I saw many successful and interesting paintings! 

The title on this one refers to Paco, the owner of Francisco's restaurant. (Excellent food and lovely setting). Everyone who came by asked if I put Paco into the scene. "Where's Paco?" Would have been a good title too. 

 

This is the last day of painting and then we turn on work for the show at the arts center. Reception tonight from 6-8 pm. I better get out there! Cloudy this morning. And will be cooler thank goodness. 

Here is the setting I painted. This can't have been good for my eyes! 

Ooh - seeing that now I love the composition with the reflection in the glass!! Next time....

Sunny Stroll - Revised

20x16 oil on linen

Ask Tidewater Gallery about this painting.


I just shipped this painting to Tidewater Gallery in Swansboro, NC. It was painted in 2010 and had been in my gallery in Carmel for awhile. Once back here in my studio, there were certain things bugging me about it and needing fixed. So I revised it. * Gasp*  It was the first time I dared to (or bothered to) change an older work. Mostly I think its better to just paint a new one. But this was a good composition and the figures were well done and interesting... the other stuff just needed some tweaks.

I didn't like the foreground mostly and wanted to vary the rather strident orange tones. But then my changes escalated and I moved all around the figures making adjustments! Can you see all the changes? I've highlighted the big ones below and you can compare the two images. Then there were little changes like making her nose a little smaller, bluing up the sky and punching up the highlights on her shirt and his shorts to really make them pop. Its ok to use pure white paint! But, it can be cool, so add just the slightest touch of cad yellow or surround white with yellow (or another warm) to make it stand out as a "hot spot".

Exit Row

24x18

oil on 2" cradled panel

Ask Gardner Colby Galleries about this painting

Anything But Pedestrian

10x20 oil on canvas panel
sold


A walk down Congress Avenue in Austin. Its generally not a mundane tour of the city. :-)

_____________

Consider a fine art print for a holiday gift this year - 

16x12" giclee on fine art paper - signed limited edition of 20

$80 incl. shipping
16 still available

Les Deux Gamin

12x12 oil on panel
sold

A little blast from the past. Ready to find a permanent home!

I dreamed about going to NYC last night. This is a little corner bistro in the West Village where we had lunch one day during a workshop. I hope that the city, and New Jersey and surrounding areas are recovering from Sandy. What a devastating mess. My thoughts are with all in those affected areas.

Mon - Fri

6x6 oil on panel
$125 + s/h - sold


As another thanks - and in the hopes of moving some of my smaller works out of my studio and making room for new - I am offering 15% off my ETSY site with the code THANKS12.

As an artist I think its hard to live with my past works sometimes. In a way, its hard to move on and keep creating and being inspired when I keep seeing these previous works sitting and staring at me. Some I love and hang onto but even those pale after awhile. We are ever evolving and growing and I think its important to look forward. My husband laughs at me and says I hate everything I do as soon as I finish it (not true) - but it is true that I am always looking ahead to the next piece. Not only is the creating of it what drives me, but I always feel that with beginning anew, there is nothing but potential to create something really beautiful.

In the book Art & Fear the authors talk about the idea that each brush stroke diminishes the painting's potential. As in, the more you work on a piece, the more it can only become ONE piece. But in the beginning, the possibilities are endless. 

Anyway - its an awesome book. And please help me by clearing out my studio.  :-)

Birds Eye

8x8 cradled panels each
sold

This set is probably arriving at Edward Montgomery Gallery in Carmel today, but is already spoken for we believe. I'll post otherwise if they are still available.

I'm in Jackson hole right now and this is likely the last Internet service I will have. It will be good to be "unplugged" for a bit.
This incredible landscape is just stunning! I want to move here. I don't think any words or pictures can do it justice. I'm walking around town continually staring upward at the mountains and tripping all over. Does anyone get used to this scenery?

Today we will get to visit a few local galleries and then head to Yellowstone.

MapQuest

10x12 oil on panel
Available at Tidewater Gallery
$900 framed


Another scene inspired by my NYC trip in May. The light those first two mornings had a strange glare and brightness to it that seemed unusual for the city. Today I'm working on some beach scenes for a commission. I can share these studies in a week or so. This is the first year in ages we won't make a trip to the beaches in FL. We're vacationing in Yellowstone this year and are very much looking forward to that!

Promenade

10x12 oil on panel
Available at Tidewater Gallery

Don't forget to look at ETSY or my dailypainters.com or dailypaintworks.com galleries for available smaller paintings - works on paper, 6x6 panels, pastels, and some mid-sized works. Between the small online works and my galleries, there are plenty of nice paintings that need homes! I've been surprised that I've been getting interest in some older works lately. Some of you are looking deep! :-) 

Working Lunch

 

Working Lunch

20x16 oil on panel
Available at Tidewater Gallery

I had three larger paintings in the Vignettes show and they are a hint of where I am going next with my paintings. I want to work a little bigger. Having focused on rather small or medium sized works for the past several years, and being used to working the paintings to completion in one sitting, it will be interesting to see how I like scaling up. The goal though is to still have the intimate scenery - the vignettes of life - but on a larger scale. 

Sunny Side of the Street

18x18 oil on linen

SOLD

Where to Next?

10x12 oil on panel

Available at Tidewater Gallery

This is inspired from my recent trip to New York City. I painted a view of this West Village corner on site, but was so frustrated with it, that I wiped it off. I sort of regret that now. I took a photo and later could see that it was at least a good start. It was a funny day there though - the light was really super bright and intense. More like Texas! No matter where I set up, I couldn't see well. Ah, the challenges of painting "en plein air".

"Vignettes"

An exhibition of small works by Robin Cheers

Tidewater Gallery

107 N. Front Street

Swansboro, NC

910-325-0660

Opening reception Friday, June 15, 5-8 pm

Promenade - WIP

Wow - was it only two weeks ago I painted? Seems like months. We had a trip, we brought home some exciting viruses, and I've been nursing everyone and exhausted otherwise. I managed to stay well, thank goodness. I finally got everyone well and out of the house and managed to paint this week. But what a struggle! Its like I forgot how. Its amazing how a little time off can make the brain and the body forget. I thought by trying a simple subject and using my timer that I'd be able to step right in. But it didn't work. I made mud and couldn't figure out how to mass things in and then work them into nicer shapes. So I went back to the drawing board, literally. I had to lightly draw the whole scene on my panel and color in the lines practically. Its more like putting a puzzle together. And it was rather meditative.

Anything But Pedestrian

Anything But Pedestrian
12x18 oil on panel
PURCHASE

I've been doing some reading about Pinterest. I know some of my friends love it and I know a lot of artists are very annoyed with the lack of accreditation for shared images and copyright infringement. I don't use it. I figure its just one more thing to keep up with and keep me from painting.

I haven't had copyright issues. I am sure it would suck if I find out that someone has stolen my creative efforts to make a profit for themselves. Frankly, I guess I don't believe my work is good marketing material and I don't think I am "there" yet to copy. But I looked up my blog on Pinterest today and saw a few paintings had been shared. And then they were shared again. And to be honest, I was rather flattered to see that my work was counted as favorites among some of my most favorites artists - Dan McCaw, Sargent, Johannah Harmon, Matisse...Whistler! They did have some beautiful art grouped! But me in there? Really? That is amazing to me. No, I wasn't credited in all the pins. But clicking the image takes you to my blog it seems so that is cool.

I did however drop in a "no pin" meta code on this blog... the only one I can control. But the daily painting galleries my work appears in allows the pins and I will leave that for now. When you are putting your artwork up in a public showcase, there is every chance for it to meander off and be shared, posted, blogged, tweeted, pinned, fav'd, and lose its way. We can't control who prints it at home and makes a poster of it for their wall. I am not one to believe everyone has malicious intent and am flattered that people like my work enough to share it. And who knows when one of those shares might lead to a buyer finding me and my work.

There are ways to safeguard your images and prevent them from being copied and sold, of course. Posting small or low resolution images, including a copyright name on the image, watermarks, etc. But again, that takes more time than I want to spend. There are just too many ways in which artists could spend their days working electronically rather than painting. Between the online galleries, forums, auction sites, email and social network/marketing, it makes my head spin!

Speaking of sales sites, I posted this painting and another larger one in my ETSY shop. If you aren't a member or don't want to sign up to purchase there, email me and I can invoice you directly.

Night Owls

20x10 oil on linen
PURCHASE

Another painting making a return home from a gallery. Available unframed from my studio. Its a dark scene - as in low light. But the cafe and sidewalk look very pleasant and cozy!

I haven't been painting actually, and I don't want to sound negative, but I feel like I am lately. I've been having issues with a business associate and its stressed me out so much that I can't paint. Be really careful who you allow to represent you art. Not every opportunity is golden. Can you sense my restraint here?

Sunny Stroll

20x16 oil on linen

Ask Edward Montgomery Fine Art about this painting.

A couple of hipsters strolling Sixth Street in Austin. Its always a fun challenge trying to capture the effects of bright sunlight. Oh, that it came in a tube.

Walkabout

6x6 oil on panel
$100 + s/h - sold

Its hard to paint a busy scene small. And a figure no bigger than a bobby pin? whew!
But I pushed through it. Again, its a scene that needs to be larger. Or I need to crop in closer and paint just the figure (and her little dog too! - said in the voice of the Wicked Witch).

I've had an up and down day today and almost didn't paint. The up is that we are prepping to go to Cozumel for a family vacation and I am super excited about that. The downer was being rejected again for an art competition.

While I painted I pouted. But then I began to wonder why do I WANT to be accepted? I suppose it would be nice to win an award or see my name out there. But mostly I enter and hope to be accepted as part of best 'business practices'. Shouldn't I be trying to promote myself? Building my resume? Reaching a bigger audience and increasing the value of my paintings? Maybe in some way too I want to feel part of the larger world... that what I am doing in my studio is acceptable out there in the world. One can get tunnel vision or be isolated in this profession. And though the work was rejected, I still look at it and am reallllly pleased and wouldn't change a thing about my results. And ultimately, that is the best feeling.

There are so many possible avenues to consider WHY a painting isn't accepted to show, and I don't want to go into that here. But in sharing, maybe I can just let my friends know that rejection sucks, but it doesn't really mean much. Just keep painting.

East Enders

12x16 oil on panel

Gallery info to come.

Here is my finished product from the demos below. Frankly, I am not sure I am thrilled by it. Maybe the figures turned out too small and don't draw the eye. And its a soft light illuminating the scene - something I always have trouble with. I like the puddle in the foreground the best!

Loading my stuff up to go to Houston for a wedding reception painting event this weekend. Been a busy fall for those!

Sidestreet

16x16 oil on panel

Available at Tidewater Gallery next week.

Remember this study from a couple days ago? I am so thrilled with how the big version turned out. I started the same way. I set my timer for 30 mins. and massed in, sketched, scrubbed and placed as much as I could, covering most of the canvas. After a little break, I set the timer again and kept going the same way. The final touches took probably an hour also, but getting the bulk of the scene painted under the time constraint made me stay loose and work all over the canvas. I didn't get bogged down with defining all the details of the buildings or cars, but found that after I'd massed in, all that was needed were some highlights and a few other strokes to suggest form. The only thing I am not totally sure of is the tree shadow just in front of the figure. I think it needs some editing. Overall, a great day at the easel! (not so much in the rest of life... laptop died, spilled water on my debris-strewn studio floor, forgot to eat, min. schnauzer shaved, glued my fingers together...)