Art Studies

Something New

2011-12-01T20:57:00.000-05:00

For the rest of December, I'm test marketing online auctions of selected small oil paintings. You can view this week's painting here, or even place a bid.

For those of you who are also subscribed to my newsletter, I apologize for this duplicate message.

New Belted Galloway Paintings

2011-11-18T15:12:00.000-05:00

I'm working on a series of new Belted Galloway paintings. This is the first one...

The one thing about painting is that I know that I have to do it. I need it like breathing. Honestly. I don't function very well when I'm not able to paint. It clears my head and lifts my spirit. This painting is available on my site.

The Perfect Storm

2011-10-22T15:31:00.002-04:00

A friend called today. She was wondering where I'd been. No newsletters or blog updates, etc., got her wondering.

Well, life gets to you sometimes. A friend died in August and about that same time, carpentry work was to be done here, displacing quite a number of things that had been in storage. The only other location to move them....my studio. But there's more to it than just that. There's always "more to it."

I read a recent blog post about "disabled artists." This is something I've never really discussed here on this blog, but I could write volumes if I wanted to. In fact, I did...the draft has been saved but I just haven't posted it. Do I want to? I don't know that I do, really. Whining is not a direction I want to take. But for the record...I'm in the middle of what I call my "dark months." From September -January I can become more or less housebound. It's not fun. I've had to put my thoughts of bike riding on hold until spring...hip-joints are not cooperating as I had hoped they would. But I do intend to do some walking...as much as my body will allow.

I need to get back to painting. For the moment, I've ground to a halt. For those wondering about why I don't do much plein air work...this is why. I used to do it quite often. But everything changed for me when I had my "pseudo" heart attack at the age of 27. It wasn't a real one but it felt like one and was brought on by my condition.

Anyway...as soon as I can, I'm hoping to do a "weekly" painting...more or less. We'll see.

On Titles

2011-09-25T12:43:00.007-04:00

"And It Appeared To Be Laughing At Me" 24"x30" oil on canvas

Now this painting is rather an odd duck, I know (pun intended, I do like puns...sorry). But it represents something I've always had issues with...titles for my paintings. I was reading Robert Genn's comments on giving paintings titles when I thought of posting this.

Why is the title for this painting so long? Well, it did appear to be laughing...at me! But I think there was something subconscious going on as well. The painting is quite simple in subject. Was I overcompensating? I've seen other "simple" paintings with long titles, and vice versa. I like many of Karin Jurick's titles as they seem to fit her paintings quite well.

The first painting I ever sold through a gallery was titled, "Common Ground." It was of a gray day with a field covered in brown grass, an old fence and some leafless trees. The sky: a swirling pattern of clouds. It also featured, among other things, a small grave yard. The title fit both the scene and the idea implied by the graves.

On a lighter note... there is a story behind this painting...

I saw this gull while I was on a walk out to the Rockland Breakwater. It did appear to be laughing but it also reminded me of a fishing trip. Not really much of a trip but a day of doing some fishing. I was fishing from a nearby dock and not catching much of anything. I was about to wrap up for the day but decided on one last cast. I wound up and let it fly.... and waited to hear the jig splash in the water....nothing. I hadn't really thought about but I looked at the end of the pole and noticed that my line was ascending rather than descending into the water! It was lifting off into the sky above my right shoulder. I looked back and as I started to reel it in, I noticed a seagull lowering in the sky behind me. I reeled in some more and lower it sank in the sky. At that point I let the line loose, cutting some slack. I was afraid I'd actually sunk my hook into the bird but apparently not. I think its wing just got wrapped up a little as it eventually freed itself and flew off.

So....was this the same gull? Ha! I highly doubt it but that look of "laughter" took me right back to the day I 'caught a seagull'.

Oyster River

2011-09-15T20:41:00.003-04:00

This painting came about in a rather unusual way. It's an extremely personal painting but it was something I simply had to do. At first glance it appears to be a very natural scene. My father died a few months before I painted it. About a year and a half prior we shared a life or death scare...our second one. Some of the memories that went into this painting actually go back to my childhood as well.

A word of caution...some of you may find the following "offensive." I'm sorry if you do but you can't know what's behind the painting without an explanation of these events.

When I was about 10 years old I saw something that scared the life out of me. It looked like something from a horror film. My father had "bad veins" in his legs and one day, one of them popped. I remember looking out toward the bathroom and seeing a large stream of blood crossing the floor. I screamed to my mother that she'd better get out there fast. He was fine in the end but it was just so scary.

Fast forward to 1998...

I got a call from my father one morning. He was living in the apartment below us at the time. He told me to come down quickly because he had an emergency. When I entered the hallway, I saw a trail of bloody footprints leading to his apartment. When I got in, I found him sitting at his kitchen table in a very large pool of blood. It measured at least 4-5 feet in diameter...and there was another one just as big on his bedroom floor. It looked like a double murder scene. I couldn't believe that he hadn't passed out, as he looked so pale and weak. I called 911 and my brother. When the paramedics arrived, even they were taken aback ...which is a scary thought itself, considering the things they see on a regular basis. One of the paramedics asked if I could lay down some newspapers so they could walk around and better tend to him.

They took dad to the hospital and my brother went along while I stayed behind to clean up the mess. I remember using five full sized bath towels and as many old newspapers/paper towels I could find to soak up the blood. After I got most of it up and disposed of, I mopped the floor. What got me about this was after mopping it all up, I kept seeing blood seep back up through the floor boards. This happened three or four times before it finally stopped. I described all of this to the doctor and he said that it can sometimes look like more blood than it actually is as "it can spread across the floor like a spilled cup of coffee. This is especially true when it's thin." The only problem with his description is that it wasn't "thin" at all....it was thick! The blood that seeped up through the boards was thin as it had mixed with the mop water. But those pools that I had soaked up with the towels, etc., were nowhere near being "thin."

After things settled down and dad got back home later that day, I had to go for a long drive to get some fresh air. I was feeling sick to my stomach from it all.

A few months after dad died, I came upon the scene in the painting and took several pictures. The river is on the Thomaston/Warren line here in Maine. In the actual scene, the trees and river weren't nearly this dark. As I was painting this, I realized I was using a very deep red for the underpainting of the reflection and forest. I never did try to go lighter or hide the "red." I was subconsciously painting my father's blood. The reflection you see in the river became a metaphor. It's his blood seeping up through those boards and spreading out across his floor. I had to get it out somehow, though none of this was planned...it just happened. In the end, the painting became a tribute to him.

On yesterday's post, one comment was made... "I'm a big believer in painting from life - all the answers are out there...." As you can see, this isn't always true...sometimes the answers are within.

The Photo Used As Reference

2011-09-14T18:03:00.004-04:00

I was reading a blog the other day that pretty much slammed the idea of using photography as reference material. This, to me, is a trivial pursuit. Why? Well, the blogger mentioned seemed to be implying that using reference photos proved the artist doing so wasn't really much of an artist. _____ ? True, you can't "copy" a photo and come away with anything of real value. A photograph(s) needs to be interpreted...

Below is one of the reference photos I used when I painted "Main Street, Rockland." It's fairly lifeless, as are many photos. But it had the "meat' I wanted in it.

I knew where I wanted to take it...

"Main Street, Rockland" 20"x24" oil on canvas © Brian Kliewer

So...no room for artistic interpretation? Actually, the point that was being made in the blog post was that cameras distort and only "plein air" painting is the way to go. I agree that it is a good way to go....but I also like the idea of using my own thoughts rather than trying to replicate a scene as it appears in real life and being all caught up in that ideology. Hmm...did I just refer to "copying"?

Yes, indeed...the camera does distort and anyone wanting to use photos for reference must be aware of this.

I'll say this... I feel I caught more of Rockland in my painting than the camera ever could. I grew up here...the painting has some of those memories in it. Much more than any photograph could elicit. No..don't copy...interpret.

At Aldermere Farm

2011-09-13T11:54:00.007-04:00

My brother, Bob, at Aldermere Farm in Rockport, Maine.

We rode our bikes up to the farm last week. It was fun. This is one thing I want to get back to doing. I used to ride all over Maine. Starting from Rockland, I rode as far south as Kennebunkport and as far down east as Schoodic Point (beyond Ellsworth). I've missed it. But I gave it up quite a fews years back. For those who don't know, I've had a condition that has interfered with my life in a major way for years. Recently, it has seemed to be in remission. I don't know if this is actually true but I intend to find out! The ride up to the farm was a first step, a "test" to see what I can do.

In fact...

...thats' where I hope to take things with this blog. Becoming inactive for so long has caused other problems. I began 2010 at 330 lbs. I lost 80 lbs last year and got to 250. Most of that weight was lost by walking. I've since put about 25 lbs back on. Some of that was due to a foot injury that put me off my feet for three months...just as winter was beginning. Winters in Maine are hard anyway but that injury only made things worse.

This is another reason for leaving Facebook. I really want to get my life back...to get off of the computer as much as I can...and live. I don't have a cell or "smart" phone by choice. I don't want this stuff taking up my life.

So how can I use my blog? I'm working on that. I'm thinking of renaming it "Art Studies, Travels and Musings" or something similar and updating with new paintings and photos from my bike rides. I only have about a month and a half or so of "good" bike riding weather left (if November is decent, I might be able to squeeze some more rides in then). We'll see.

I'm also looking for healthy recipes. Here's a "Lettuce wrap sandwich" that I think I'll try (and play with some ideas of my own). I really like the idea of cutting bread out of my diet as much as possible.

So this is what's up. If possible, I'll be heading back up to Aldermere Farm on my bike when the leaves start to change. There is nothing like bike riding in Maine in the Fall! So....would you like to see some pictures of Maine in its autumn splendor? Would you like to follow me on my travels? If I can pull it off, they will be seen here in the coming weeks!

I Remember...

2011-09-10T23:28:00.000-04:00

I remember 9/11...

Click on the player to listen.

Why I Left Facebook and Twitter

2011-09-07T22:33:00.035-04:00

FACE-OFF!

Like many artists, I also joined the social media circle via Facebook and Twitter. But I have now left both behind and don't really intend to go back. If I ever do, it will be to connect with friends I actually do know personally and family. Why? Because I've had enough of the "buzz." Have you heard it too? It's not something you can actually "hear" in an audible sense, but feel. It's overload. I started out with social media via Twitter. But before long, watching that stream go by just got to me. I couldn't keep up with it and frankly, I didn't care to.

"Follow Friday" on Twitter became a great excuse not to even login on Fridays. SPAM is what it really was. In my opinion, it is nothing more than people helping others to SPAM their followers, etc. Does #FF still exist on Twitter? I don't know and I don't care. Eventually my dislike of using Twitter on Fridays spread to other days as well. It all just became a monotonous stream of words, or "shorthand' squeezed into 140 characters. For me it felt like drivel.

Now the same thing has happened with Facebook. I stayed with FB longer because of its format. But it too began to "buzz" in my mind. I liken each of these platforms to a "visual cacophony" of text. At least with Facebook, I didn't have to go off site to see pictures.    When you start following many people on any of these platforms, things are going to get BUSY!    If you are on Facebook, how many pages have you "liked"? How many "friends" do you have? It all can become quite monotonous in a very short period of time.

After mentioning this to a friend, she suggested using some apps to weed out the crowd....to "quiet" things down. On the surface, that might make sense. But after thinking about it, I wondered how many others were doing the same thing.

BUT IT'S THE PLACE TO BE! Is it? Because so many people are on it, this is the argument that is often made. Is this true? Is it really where I want to represent my work?   I remember a gallery owner asking me once if it would be OK to place one of my paintings on the sidewalk in front of the gallery. I balked at the idea on the grounds of it being too busy and noisy. I was assured that the gallery would have paid for any damages. But, for me, that wasn't the issue. UNDIVIDED attention for my work was. That's what I was paying for after all. At this point, almost every ad I see on TV ends with a "Like us" or "Find us" on Facebook slogan. If everyone and everything is there, then this is the EXACT reason why I don't want to be!!   Have you ever heard of the term, "white noise"? To me, this is what Facebook is becoming. As far as I'm concerned, it has "jumped the shark." It finally hit me that it had the day I saw a funeral home with a "fan page." That was it. Enough said.

Somewhere around August 10 I posted a message on my wall stating that I would be leaving Facebook on September 1. Though I did stop posting, I didn't stop watching. I watched several of my friends to see if my suspicions were true. Facebook and social media are addictive, or can be. Several of those I watched had been on the site either through a computer or phone all day long. I watched their "likes" and comments. It goes without saying, the more pages you "like" on FB, the more groups you join (or are added to) the more cluttered your news feed will be. This simply is not the place I want to show my work. I don't care who says what about it....it simply isn't!

True or not, I found this stat to be interesting. If true, it's quite a revelation. Whether only 1 out of 10 people actually saw my post on FB doesn't really matter to me. I just don't see it as the "be all and end all" that everyone else seems to. Based on my own use, I didn't really care to click on links that went "off-site." If a posted link went to a blog post, I usually wouldn't bother to read it. Instead, I'd head right back to Facebook to see what others were sharing. How dare they post a link to an article that actually had multiple paragraphs in it?! Ahh...twitter brain lives on... ENOUGH!

For those who use social media (networking) and "like" it, that's fine...and I'm not telling anyone to leave it or stop using it. Nor am I saying that it doesn't have its useful purpose or place. What I am saying is that after three years of using it myself, I have determined that it doesn't work for yours truly... and I haven't even gone into the "unethical" side of it....

There are other reasons for leaving. The way Facebook handles its updates is atrocious in my opinion. Foisting these things upon people as they do is ridiculous. Sure, I met some wonderful artists and saw some great work while there and I will miss that side of it. But the time I spent removing myself from groups I didn't want to be in, or untagging myself from photos I wasn't actually in ( a TOS violation, by the way) or readjusting/rechecking my privacy settings, etc., just made it more of a headache than a help.

I don't care how "small" my audience will be as a result of leaving. Then again, maybe I do...as my hope is that it's a loyal one that I can relate and respond to in a more personal way. And.....really....isn't that what being an artist is about?

Art Studies is set to resume business...

2011-09-02T17:56:00.001-04:00

This blog is about to resume... I've neglected it. Many who have been doing the "social media" bit have said the same thing. I'm guilty as well....but I have left social media, i.e., "social networking" behind and I don't plan to go back to it. I'll explain why in an upcoming post.

But in the meantime, I have plans for this blog. I might even "tweak" the title a bit as I have in mind using it as more of a "Life of an artist" platform. I'm also planning to add audio descriptions of my latest paintings...that is...if my computer will let me. We'll see.

A Walk Through A Snow Storm | I Wish to Speak to You

2011-06-20T13:59:00.001-04:00

A Walk Through A Snow Storm | I Wish to Speak to You

"Winter Storm" 30"x24" oil on canvas

I haven't updated my "studies" blog for a while but hope to get back with it soon. In the meantime, if you'd like to read about the techniques used in one of my most recent full sized paintings, "Winter Storm," you can by clicking the link. The update on my website blog gives you a complete breakdown of the painting as I discuss it all, from using a palette knife and brushes together and making headlights and ice appear to "shine."

"End to End" Belted Galloways oil on linen

2011-01-31T21:02:00.005-05:00

"End to End" 8"x6" oil on linen

These animals are also featured in the painting below. There's a lot of reflected light in this scene. And during these cold and snowy winter days, working on it provided a pleasant escape to a warmer day.

"Belted Galloways, Afternoon Light" 6"x8" oil on linen (sold)

This painting sold recently and I got an email from the owners...

"Brian,

The painting arrived yesterday, on schedule, in the snow storm.
We are very pleased with it. It is even better in person than the picture. We will frame and display it properly soon and enjoy looking at these delightful animals indoors as well as in our fields!"

I always enjoy hearing these comments. That's one of the things about the Internet. While it is convenient, photos almost never convey colors and texture accurately. I often get comments like this. Always appreciated!

My Newest Belted Galloway Painting

2010-11-27T23:29:00.002-05:00

"Belted Galloways, Afternoon Light" 6"x8" oil on linen

SOLD

More Belted Galloways from Aldermere Farm in Rockport, Maine. I remember when I first started visiting the farm, Mr. A.H. Chatfield, Jr. took me on a tour. He was a nice old man, who really knew his stuff. When I told him that I wanted to start doing some paintings of his herd he said, "Certainly. We'd be glad to have you. Just one thing...be sure to get the faces of the animals. I can't tell you how many photographers never do. Catch them in the sunlight and you should do quite well." On my return to the farm, I showed him a 24"'x48" oil I had done. "Now those are some fine looking animals!" he said. It was an honor and a privilege to have his guidance and approval.

Into the Light, Belted Galloways

2010-11-10T20:47:00.005-05:00

"Into the Light, Belted Galloways" 6 x 8" oil on linen
© 2010 Brian Kliewer

SOLD!

I visited Aldermere Farm with artist, Renee Lammers last week. We drove all over the midcoast but had the most fun at Aldermere. Renee got some very close up photos, while I decided to stay back.

I like the way one animal remained in the shadows and just watched us so I decided to show this in the painting.

I plan several more Belted Galloway paintings from the photos, different sizes and prices.

High Country - oil on linen

2010-10-20T00:45:00.004-04:00

There was a time when I was known mostly for my clouds. In recent years, I moved away from doing cloudscapes. I don't know why, I just did. I remember a bus ride and the clouds that day were just incredible. I spent most of the trip just staring at them. The girl next to me asked me what I was doing..."Working" I said. She replied, "What, do you work for the state or something?"

Recent Paintings...

2010-10-16T14:23:00.004-04:00

Sorry for my absence. I'll resume updating this blog on a regular basis very soon. I've been experimenting and not sure what I want to do with the paintings. I might post and discuss them here later. Until then, here are a few paintings I've recently done and added to my website...

"Summer Glade" 6 x 8" oil on linen © Brian Kliewer 2010

"Passing Showers" 4 x 6" oil on linen © Brian Kliewer 2010

"Leaving the Station" 6 x 4" oil on linen © Brian Kliewer 2010

SOLD

"Mostly Cloudy" 4 x 6" oil on linen © Brian Kliewer 2010

SOLD

"Partly Cloudy" 6 x 4" oil on linen © Brian Kliewer 2010

Frankly, My Dear....

2010-09-06T05:24:00.012-04:00

The "Right" Way To Paint....

Above are a couple of versions of a photo I recently took. My question to you would be...As photos go, which is the most accurate to the scene? The answer might surprise you but they are equally accurate. It just depends on your point of view. If you don't believe me, the next time you go for a walk, with the sun at a fairly low angle in the sky, head toward it and look for a shadow that you can step in and out of. When out of the direct sunlight, the shadows will be "cooler." But if you step into the sunlight, everything will have a reddish cast as the sunlight hits your eyes. Here, I've exaggerated things a bit but the point is accurate. This will happen if followed as outlined.

What's my point? I recently got into a discussion about how to paint, or what is the best way. I've written on this topic before but my opinion is...whatever you like. To each his own. Period. I was being ridiculed for the fact that I often use photography in my work. I do and make no bones about it. But the idea that it isn't really painting if I don't do it on location is utter nonsense. This is the point that was being made to me. The argument is similar to the one in acting...that working in theater is more "important" than film. Think about it for a second. Just because film is at a slower pace and more thought out, and even edited, does that mean you can't be moved by a great performance? I could run down a list of highly successful artists who do use photography. But I'm not trying to defend its use because, quite frankly, I don't give a damn who feels it's proper or not! I'm just making a point. (In art these days, there's also the argument that those who show with galleries have more integrity than self-representing artists who show and sell their work online. These arguments are pretty petty, in my opinion.)

Using the above photos to illustrate my point I have represented a fact of nature that many "plein aire" painters seem to miss. You will often see a "plein aire" painter working under an umbrella. Why? To control the light. Or in other words, to create an artificial condition in which to work. I contend that anyone who uses an umbrella is distorting the natural view. Use a sun hat? Same thing. Does it matter to me? No, it really doesn't. To each his own. I'm just making a point. But I can rant on the subject if I so choose because I have done many a "plein aire" study myself over the years. I have a home-made brush holder that attaches to my French Easel to prove it. It fits on both the full or the half easel, whichever I choose to use and will easily accommodate up to ten fully loaded brushes.

I did a painting several years ago of rocks on a beach. My view was toward the sun without anything covering my eyes. The shadows were extremely "reddish" looking as a result. But, and this is the point, they were completely natural looking.

Below, painted "plein aire" style in 1989...

I did this on a very warm day in August, 1989. I'd just gotten a new car (new to me) and wanted to use it. I did many plein aire studies that year. I was really going through the canvas!

But Isn't Using Photography Cheating? Would You Walk 18 Miles to Gather Reference Material?

Why do I often not work from life? For one thing, wet-on-wet painting is not a favorite thing of mine to do. I can do it and often have and do, but it's not my preferred method of painting. The artist that pushed the point with me seemed to be suggesting that working from photos is easy and only "real" artists work from life. More nonsense, and especially so in my case. Before one uses photography, a solid understanding of working on location is a must. You need to have a good understanding of light, etc., along with the knowledge that photography distorts things. By the way, I don't "copy" photos as much as I interpret them. A collector visited my studio the other day and noticed the difference. But in my case, am I cheating? Am I really looking for an 'easy way out'? Very few know this but I don't drive. I have an inner ear problem that finished that for me several years ago. I can tell you from experience that there's nothing quite like driving down the highway at 65 MPH and getting dizzy and sick out of nowhere!! So I either bum rides, or I walk. Some of my recent Belted Galloway paintings came from photos taken at Aldermere Farm in Rockport, Maine. I walked to the farm a couple of weeks ago, from Rockland. From there, I walked on to Camden as well. I started out at 7:30 AM and got back home around 4 PM, after walking more than18 miles round trip. So, "cheating," to me? Well, I suppose I could view using a car as "cheating."

I see many discussions online about what is or isn't the best way to paint. Formulas, rules and color recipes are discussed ad nauseum. My opinion on the mater is "just do it!" My choice of style is mine alone and I don't push it on anyone else. If you like it, fine. If you don't, fine. With the exception of a couple of artists, I am not a fan of "flowery" landscape painting. Andrew Wyeth once referred to artists working in that style as providing a "visual cocktail." I've never been a fan of that kind of painting, though I know many artists are. This was on someone's Facebook profile..."If it's too pretty, it isn't art." I tend to agree with that but....to each his own.

For more on this subject, On Style and Individuality

To Blog Or Not To Blog...

2010-09-05T10:24:00.002-04:00

It's been quite a while since I've used this blog to write commentaries and such. That's about to change. I will be getting back to voicing my opinion on matters related to art and marketing, the Internet, etc., very soon. I have a 'love/hate' relationship with the Internet. I admit it and lately, it's been leaning more in the hate direction. But I think it's time that I added some commentary instead of just sitting back and observing. More to come...

Belted Galloways, Seeking Shade - oil on canvas

2010-09-02T00:50:00.002-04:00

Belted Galloways Seeking Shade oil Bran Kliewer

I saw these a couple of weeks ago at Aldermere Farm in Rockport, Maine. I've been on a health kick lately and I walked to the farm from Rockland. At first I didn't see any animals, so I went on to Camden. Then when I came back, I stopped by the farm again and found these guys trying to stay cool. That walk, round trip from my house, totaled 18 miles. I was exhausted by the time I got home but it felt great to do it!

I'm trying out some frames with these small paintings but I'm generally not a fan of showing framed paintings on the Internet because the painting image itself gets reduced in size. But I am testing a page on my site. You can see some of these small paintings framed here.

100 Small Paintings

Fire - oil on linen

2010-08-31T22:47:00.002-04:00

Fire 4 x 4" oil on linen by Brian Kliewer

SOLD!

I did this with a memory from long ago in mind. There was an old barge here in Rockland that officials decided needed to go. Teenagers had taken it over as their own playground. Dangerous. So the word was put out that they were going to burn it and they did. I was just a small boy at the time but I remember it like it was yesterday. Hundreds and hundreds of people everywhere. I hope to do a full version sometime. If I could get a really large painting from memory... I definitely have the memories! 100 Small Paintings

After Midnight oil on linen

2010-08-30T13:56:00.000-04:00

After Midnight 4 x 4" oil on linen by Brian Kliewer

There's kind of an interesting story to go with this scene...how I avoided getting killed as a little boy. You can read about it when viewing the painting on my site.

I'm going to continue with the 100 paintings, but at a slower pace. My hand won't allow me to work with as much speed as I wanted to and working so small is difficult as well. In addition, I want to work on larger things too and not following a strict "do it now" approach will help.

This night scene is the first of several I hope to get done, working toward a large painting. More to come...

Back at it

2010-03-13T17:57:00.000-05:00

Hi folks, I'm back. Should be posting here again soon. If you haven't seen it yet, I have started a new blog on my site and it can be seen here: http://kliewerstudio.com/blog

I have new things planned and hope to give details soon. You can also friend me on Facebook

February's Printable Calendar Page

2010-02-01T14:47:00.004-05:00

February's Printable Calendar pdf

Click the link to download the pdf.

The pdf will print as a high res 11 x 81/2" page.

February's calendar features "Maine Winter," a 36 x 48" oil on canvas from 1996. (Sold) You can print these calendars out and hang them or use them in whatever non-commercial form you wish. You can also forward the link to family and friends. Please Do!

For best results, I recommend using a high gloss photo paper.

(For private, non-commercial use only ~ 2.36 MB)

December 2009 Printable Calendar Page

2009-12-04T19:48:00.002-05:00

Click on the image to download the PDF

I'm going to resume production of my monthly calendar pages (PDFs). You can print them out and hang them or use them in whatever non-commercial fashion you wish. You can also forward them to family and friends. The December Calendar features "Snow Storm," my 5 x 4" oil on canvas from 2008. I'll post next month's calendar before the first of the year.

(For private, non-commercial use only ~ 2.46 MB).

My Latest Belted Galloway Painting

2009-11-08T01:28:00.006-05:00

"Galloway Gathering" 5 x 7" oil on linen
© 2009 Brian Kliewer

SOLD

The streaks of late afternoon sunlight in the background got me going with this painting. I like the way they echo the "belts" on the animals. Click here to view it larger or purchase.

More small Belted Galloway paintings coming.

Study for "Shadows"

2009-10-02T09:40:00.004-04:00

Study for "Shadows" 6x8" oil on linen panel
© 2009 Brian Kliewer

This is a study of a young boy as he was walking by my studio. I liked the way the shadow of the building overtook him as he got closer.

I've always enjoyed figure work and portraiture, though I have rarely pursued either. A visitor to my studio saw one of my portraits once and said, "You've missed your calling." But I'm still here! I'm still painting! So, I'll be adding some of these on occasion. One of the most intense and exhilarating experiences I've ever had was when I was working on a portrait. I'd like to feel more of that.

But there's more to it than just that. A friend of mine doesn't like figures in paintings and that's fine. So why do I? I like the idea of being able to express emotions beyond just a pretty scene. Adding people to my work helps me to do that. A title can be tied in with what a person is thinking or just nuanced enough so that the viewer can take more away from the work than that it's just "pretty." While that can be done with a landscape, I can't really focus on human emotion with them. So there will be a greater mix in subject matter from here on. That will also help me to stay in it -- to hold my interest more. I hope the viewer will enjoy them and maybe get a better understanding of my thoughts as well. Art, to me, is all about connecting with people. It's my "voice."

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And Here We....Go.

2009-10-01T23:21:00.003-04:00

I said earlier that I wanted to do other things. I'm currently working on some new figure paintings...or, more precisely, paintings that involve the figure/people....

New Belted Galloway Painting

2009-09-29T03:59:00.003-04:00

"Grazing in the Shadows" 8x6" oil on linen
© Brian Kliewer 2009

It's been a while since I've painted Belted Galloways. You can view this painting on my website here.

This is the beginning of a new approach to how I'll be using my website. From this point on, anything 6x8" and smaller will be available exclusively through my site. Larger works will be available through galleries. I'll be framing the paintings myself as well and they will be included in the painting price. S&H will be added at checkout.

So I'm beginning to get back into the flow. More to come...

If you would like to keep informed of new projects, you can subscribe to my newsletter. An unsubscribe link is always provided at the bottom of each email.

Lightning I

2009-09-03T20:10:00.005-04:00

In my previous post, I probably left many thinking I was getting quite frustrated with being an artist. Not really. I just get frustrated with the routine aspect of painting. I have been feeling a strong need to stretch my boundaries. I know what I can do. Now I want to do things that haven't been seen from yours truly before...to see what else I can do...maybe even paint some things people would never have expected of me.

So, with this in mind I am offering "Lightning I." It's the first of a series of small paintings I'm working on featuring lightning. I'm hoping to develop a larger thunder storm painting from them in the near future. That's the plan. Also, if you would like to follow along on another painting project, you can check out a painting currently in progress. I'll be updating this project shortly.

"Lightning I" is the first of several new small paintings I'll be offering for sale on my site. Look for a "Small Works" collection to come. Unless otherwise noted, each painting will be framed.

I'm not giving up my more usual things...just tweaking them a bit and pushing my boundaries back a little. I promise... my shoes are NOT going to resemble Jackson Pollock's anytime soon.

Are Artists Ever Really Satisfied With Their Work?

2009-08-19T12:52:00.016-04:00

That question might seem obvious. You chose to be an artist, after all. Right? Well, not necessarily. Sometimes art is just something we can't ignore. Sometimes it chooses us! But the question I am thinking of is more about the work itself.

It can be a very satisfying thing to complete a "great" painting. Having said that, I can find things in my own favorite paintings that I don't like. Even years down the road I can remember things about certain elements in paintings I wish I had executed better. They stand out to me like a zit on my nose, even though the public is unaware of them. But I suspect this is just part of being an artist. It goes along with being imperfect while striving for perfection in the work.

So how about a deeper look at the question? I know an artist who does wonderful figure work and portraiture. But in an interview with a local newspaper, he wanted it known that he does landscapes as well. From everything I've seen of his work, he hits it right on the head most of the time. He is very good! But in that interview, I felt I spotted some anxiety.

Why did he feel the need to emphasize his other work when he was already being widely accepted for the great work he was already doing?

I know the feeling myself...and I know I am not alone. I was once told of a conversation Andrew Wyeth had with local artist, Robert Hamilton. He said, "Bob, you're a real artist. You do what you want to do. I wish I had that freedom." I can't say if this was actually ever said since I got it from a third party. However, the source is a trusted one...so I believe it might have been. I also believe, however, it could have been said because of my own experience as well...

Whenever an artist becomes successful at something, he/she is often "painted" that way. But who wants to be pigeonholed? Galleries do that all the time. They want a "signature" look...a hook...something they can sell you by. The problem is, we artists can do that to ourselves as well!

If something works, why not repeat it? Right? But what happens if we are "successful" and it all becomes mundane? This is at the root of it. I know I have to enjoy the work if I am going to continue to do good work. Painting by rote will only breed boring, unimaginative artwork. I need more than that and this is what I believe is behind the words of the artist mentioned earlier and his interview. Variety is the spice of life...

So here's a question... If I only do landscapes (or seascapes) because of their inherent "prettiness," where does the heart of the artist come into play? Does it? I have always enjoyed artwork that can have more than one meaning. That is a goal for me to pursue more often in my own work...

Otherwise, I might feel like just jumping off a cliff. But I would prefer to paint one!

(I'll be posting new work ASAP)

Blog Update

2009-08-03T16:32:00.000-04:00

Well, it's been quite a while since I've posted anything. Thanks to all the new subscribers and my apologies for not blogging of late. After some health issues, I'm getting back on track and you should be seeing new things here very soon. I'm planning more small paintings and studies. So please stay tuned!

More on Individuality

2009-03-20T10:01:00.012-04:00

"May Fields" 20"x30' oil on canvas
© 1993 Brian Kliewer

On the development of style..

A gallery I was showing with was having great sales of my work to a major corporation. At the time, that felt very good. But I do remember being told bluntly, that, if I wanted it to continue I was to do..."No statement pieces!" I was particularly struck by that "no statement pieces" command and I intended to rebel against it, no matter what. But how? At the time, I remember that birds were not showing up at the feeder very much and I got thinking about Rachel Carson and her book, "Silent Spring."

So I had this photo kicking around in my studio. It was overexposed and the light in it was almost searing. The resulting painting was "May Fields," above. As I was working on the painting, I got thinking about what it would be like if the ozone layer were completely destroyed. I decided I wanted to play with that idea. But, in keeping with what the gallery wanted, I still had to do a "scenic" piece. So I developed a searing kind of light in the painting. If you could see "May Fields" in person, you would notice that the light is very, very strong. I pushed the darks and lights to an extreme level. I wasn't interested in "capturing" the scene...instead, I was more interested in exploiting it.

Shortly after the painting was displayed at the gallery, the company in question purchased it. I'm sure no "statement" was seen...but one certainly was made!

That look captivated me, though, and I eventually started doing more sunlit paintings in that manner. In "Afternoon Grazing," below, I have again added almost "burned in" shadows. It's a very photographic look, but I am fully aware of what I am doing.

"Afternoon Grazing" 5"x7" oil on canvas
© 2007 Brian Kliewer

There is an aesthetic behind its use. In this painting, I like the way it "echoes" the black and white pattern of the Galloways themselves. The only "statement" I was making here was an artistic one.

This all comes back to my earlier post on the idea of "breaking rules." Yes, we need to know them and follow them. But to remain an individual, we need to break them now and then too. And I do believe that, more than just breaking them, we also need to develop some of our very own.

Keep painting!

Reality, Perception and Individuality

2009-03-18T18:10:00.011-04:00

I admit to being sort of a rebel when it comes to painting. I do. I am. Preconceived formulas for painting are just not my thing. This is something I've been considering writing about for a while now. After reading today's Fine Art Views article "Knowledge is Key" on the subject of rules by Keith Bond, now seemed like as good a time as any.

Early on in my studies I bought art books galore. And I followed them closely. So, in that sense, I guess you could say I have "academic" training to a degree (pardon the pun). But I stopped following them the day I used a color recipe that produced a green sky. I'm not into green skies. So where's the rebel come into play here? Well, I do believe in rules and following them to the level that suits my interests. But we are all individuals and I intend to hold onto my individuality in my work the best I can.

There are many, many facets to painting that I do enjoy. I like hearing the theories of others who paint. But we do not all see the same or respond the same to what we see. In fact, I can take that to an even narrower level. I don't even see the same! Yes, I have noticed that I see more red with my right eye than I do my left. My left eye sees things in a cooler light than my right eye does. The difference isn't strong, but it's there.

I once read an article that discussed painting a sunrise and how it should be differentiated from a sunset. It mentioned that a sunrise would be done with cooler colors because of the coolness of the night preceding the morning as opposed to a sunset being influenced by the warmness of the day. Logical position...but would it always hold true?

The rule of Complementaries...

Why are Complementary Colors Important in Color Theory?
When placed next to each other, complementary colors make each other appear brighter, more intense. The shadow of an object will also contain its complementary color, for example the shadow of a green apple will contain some red.

Now I know this is true. But is it always true? Or are there times when I would like to play it down?

A couple of weeks ago as I was walking home, I noticed the long, deep shadows of telephone poles cutting across a snowy field and the roadway. I was walking toward the sun. Here in Maine, shadows in winter are going to appear deep blue most of the time. But I didn't see blue shadows. I saw purple ones. Yes... PURPLE! Why? Remember that I said I was walking toward the sun. Sunlight, when it strikes the naked eye, is going to give a cast of red to any shadows you see in front of you. In this case, it was mixing with the blue of the shadows and producing a lovely shade of purple. Turning away from the sun produced the more usual blues as did blocking it with my hand.

As I mentioned in my last post, I often don't use any underpaint on areas of light in my work, instead preferring to allow the white of the canvas intensify the brightness of subsequent paint layers. This is an approach I came up with more than 25 years ago. It works fine for me.

But in all honesty, I can't claim to be the originator of that procedure, though I have honed it toward specific areas of light in my work. In my video library I have a tape of an interview with the artist, Neil Welliver (deceased). It shows him working on a painting as he's discussing how he worked. I was quite struck to see him lay his paint down boldly with no upderpainting whatsoever! None at all. I don't even go that far myself as I usually wash in the basic colors I'm working with. And he himself mentions that most artists would probably be turned off by his approach. It really is quite something to see him build his huge paintings (some being 8x8 feet!)from almost nothing -- top to bottom with only a charcoal drawing on the canvas. He would work from a small study done on location that was painted in the same manner.

In the interview he mentions the time he was interrupted by one of his artist friends who saw him work for the first time. The guy said, "It can't be done!" "Well, I'm doing it!" was his response.

That is the gist of this post. I wholeheartedly agree that each of us needs to do what we do the way we do it. Rules should be learned early on and followed when they apply. But we also need to make some of our own rules and follow THOSE when we need to. Otherwise, where is the individuality?

Now...back to the easel.

Creating the Illusion of Light in Oil Paintings

2009-03-11T13:02:00.008-04:00

Over the years I've often been asked how I capture light in my paintings. I recently answered this in response to a comment but I thought I'd go into it in more depth here.

Oftentimes art instructors tell their students to put down an over all ground on the canvas, usually in middle tones and build their lights and darks from it. I used to do that and sometimes still do. But if I want to capture light, especially strong light, I don't follow that approach. The paintings below are good examples of how I work.

"Rough-legged Hawk and Clouds"

4"x4" oil on linen
© Brian Kliewer

In "Rough-legged Hawk and Clouds," I was mostly interested in capturing the penetrating light that streams through the edges of clouds on a bright day. While I do lay in the basic colors I'm working with, the bright white cloud edges in this painting were left untouched until I was ready to paint in the bright whites and yellows, etc. Following this approach of leaving the canvas beneath bare allows the brightness of subsequent paint layers to be heightened to extreme levels. Or at least, the most extreme levels possible with paint.

A friend of mine saw one of my paintings of a lighthouse at a gallery and was amazed at how the light itself appeared to be illuminated. It is true...the amber light itself did appear to be glowing as if it were actually turned on and running.

For that effect, a little toning of some sort is required. "Snow Storm," below is a good example of that approach.

For the painting of the lighthouse, I basically completed the entire painting in darker values but left one part of the painting bare...the canvas in the area of the light itself was left bare until the last minute. I then painted it in with my warmer reds and touches of yellow to get the "glow" I was after. The same approach was used for the headlights on the snow plow in "Snow Storm."

The entire painting was laid in to just about completion with the exception of the headlights. I then moved in with my yellow-whites and finished the painting. Again, leaving that area of the canvas bare white allowed me to develop the brightest "light" possible in comparison to the rest of the painting. This kind of manipulation of the canvas can really intensify the illusion of "light" in the painting. Depending on how "dark" you want to go, you can achieve great "lighting" effects using this approach. "Main Street, Rockland" (bottom) is a further example...

"Snow Storm" 5"x4" oil on canvas

"Main Street, Rockland" 20"x24" oil on canvas
© Brian Kliewer

Along Came A Spider...

2009-03-10T23:16:00.003-04:00

I'll be back posting regularly soon. But, in the meantime, if you don't have any hangups about spiders, check this out! A friend sent it to me. Requires Flash...

http://www.onemotion.com/flash/spider/

Poke and prod the spider with your mouse. Also, grab one of its legs with your mouse and drag it around the screen. Tell me it's not alive! Anywhere on the map, just hit the space bar to create little bugs, spread them around with your cursor; watch the spider go after them.

100 Paintings In 100 Days Complete!

2009-02-18T23:44:00.004-05:00

View all 100 paintings here.

"Crescent Moon" 4"x4" oil on linen panel

SOLD

"Ocean and House, Lincolnville"

4"x5" oil on canvas

SOLD

"Morning in Searsmont" 5"x4" oil on canvas

SOLD

A few updates in one

2009-02-17T23:25:00.009-05:00

Sorry about not posting here of late. I've been battling a back injury and sitting for very long at the computer aggravates it. I have just been updating my site. So here we go...

Unless otherwise noted, all are available for purchase for $100 each + shipping.

View/purchase here.

"Inner Harbor, Vinalhaven"
4"x5" oil on canvas
SOLD

"Double Parked" 4"x5" oil on canvas

"Incoming Tide, Lane's Island"
4"x5" oil on canvas
SOLD

"On the Rocks, Pemaquid"

5"x4" oil on canvas

SOLD

"Grindstone Neck"

5"x4" oil on canvas

SOLD

"The Miss Ryann, Off Vinalhaven"

5"x4" oil on canvas

Schoodic Surf - oil on canvas

2009-02-15T00:25:00.006-05:00

"Schoodic Surf" 4"x5" oil on canvas

SOLD

$100 + shipping. View/purchase here.

Number 91 of 100.

I've had several blog sign ups lately. If you have also subscribed to my newsletter, you will see some overlap for the time being. After Feb 18, the newsletter updates will drop off dramatically. The blog and the newsletter will continue to have content unique to each, however.

Old Mitt and Memories - oil on canvas

2009-02-14T01:06:00.008-05:00

"Old Mitt and Memories" 4"x5" oil on canvas

SOLD

$100 + shipping. View/purchase here.

Number 90 of 100.

I felt like doing only one painting today after all. I should still make 100 paintings by Wednesday if I work it right. But I wanted to write something special about this painting. As a diehard baseball fan, I'm hurting. I've been a Red Sox fan all my life and I even feel bad for Yankees fans, believe it or not. If you are a fan of the Yankees, I come in peace.

I had planned to do a painting especially for the first official day of spring training all along. With the latest steroid shoe to drop thanks to A-Rod, I thought about not doing it. But I couldn't. Why? Because I am a baseball fan. A diehard one. But I could not do a painting that had anything to do with the game as it is today. So I did my old glove which I got when I was 10 years old. My father bought it for me. So this dates back to the days of Yaz, Fisk, Lynn and Rice....my heroes, growing up. Were they perfect? No. But as for a sport, my opinion is that baseball is as close to perfection as you will ever get.

I watched Ken Burns' "Baseball" when it came out during the strike of 1994. I loved every minute of it. If you're a fan of the game, hold onto your memories and go watch a Little League game or a minor league game this season. Grab some good memories and have a hot dog for me.

I'm still a baseball fan. I'm a fan of the game, and I always will be.

Two New Pemaquid Point Paintings

2009-02-13T10:08:00.005-05:00

"Out To Sea, Pemaquid Point" 4"x5" oil on canvas

Number 88 of 100

"Circa 1896" 4"x4" oil on linen panel

SOLD

$100 + shipping. View/purchase here.

Number 89 of 100.

Another Belted Galloway Painting and Some More Winter

2009-02-12T10:46:00.007-05:00

"Belted Galloway Calf"

4"x4" oil on linen panel

SOLD

$100 + shipping. View/purchase here.

Nummber 87 of 100.

"Winter Afternoon" 4"x5" oil on canvas

$100 + shipping. View/purchase here.

Number 86 of 100.

Two New Belted Galloway Paintings + 1

2009-02-11T16:47:00.010-05:00

Sorry for the delay in posting these to the blog...

"Overheard, Belted Galloways"

4"x5" oil on canvas

SOLD

Number 85 of 100.

"Grass Fed, Belted Galloways"

4"x4" oil on linen panel

SOLD

$100 + shipping. View/purchase here.

84 of 100

"Winter Shadows" 4"x4" oil on linen panel

SOLD

83 of 100

Sunrise, Rockland Harbor - oil on linen

2009-02-09T23:06:00.008-05:00

"Sunrise, Rockland Harbor" 4"x4" oil on linen

SOLD

$100 + shipping. View/purchase here.

Number 82 of 100.

This is Rockland Harbor. At the bottom of the painting, you can see the Rockland Breakwater. It extends almost a mile out into the harbor. It was completed around 1900 after twenty years of construction. The lighthouse at the end (not in the painting) was built and opened a few years after that.

An Apple A Day - oil on linen

2009-02-07T19:32:00.009-05:00

"An Apple A Day" 4"x4" oil on linen panel

SOLD

$100 + shipping. View/purchase here.

Number 80 of 100.

I had fun with this painting. Since I'm not known for my still lifes, I thought I'd really play with it. Shiny surfaces are always a challenge, but a fun one. The bruise just added another dimension of detail and realism; one that I couldn't resist.

Abandoned Farm - oil on canvas

2009-02-06T23:01:00.007-05:00

"Abandoned Farm" 4"x5" oil on canvas

SOLD

$100 + shipping. View/purchase here.

79 of 100.

Camden Reflections - oil on canvas

2009-02-04T08:58:00.003-05:00

"Camden Reflections" 4"x5" oil on canvas
© Brian Kliewer

SOLD

$100 + shipping. View/purchase here.

Number 78 of 100.

Reflections of the bow of a Windjammer in Camden Harbor.

I'm late in posting this thanks to some computer probems.

Route 220 Waldoboro - oil on canvas

2009-02-02T22:49:00.005-05:00

"Route 220 Waldoboro" 4"x5" oil on canvas

SOLD

$100 + shipping. View/purchase here.

Number 77 of 100.

February 2009 Printable Calendar Page - "Snow in Lincolnville"

2009-01-31T22:39:00.002-05:00

For February's printable calendar I'm offering "Snow in Lincolnville." Just click on the image to download the PDF. For private, non-commercial use only. (2.57 MB)

Tied Up, Carver's Harbor -oil on canvas

2009-01-31T10:33:00.005-05:00

"Tied Up, Carver's Harbor" 5"x4" oil on canvas
© Brian Kliewer

SOLD

$100 + shipping. View/purchase here.

Number 75 of 100.

I suppose "Tied Up..." might not be the greatest title for this work, since none of the boats are tied up to a dock. But all are tied up to their respective moorings.... That's the one aspect of this 100 Paintings Project that I hadn't given much thought to. Along with 100 paintings, I have to come up with 100 titles as well. Daunting when you think of it that way. I mean, I'm not doing things like a "Duane Keiser" might... no "Egg 3" or "Egg 23" here for me. Not yet, anyway. But I only have 25 more titles to go... : )

Snow Flurries - oil on linen

2009-01-30T00:57:00.002-05:00

"Snow Flurries" 4"x4" oil on linen panel

$100 + shipping. View/purchase here.

Number 74 of 100.

Belted Galloways in Morning Light - oil on canvas

2009-01-29T09:39:00.005-05:00

"Belted Galloways in Morning Light"

4"x5" oil on canvas

SOLD

$100 + shipping View/purchase here

Number 73 of 100.

Rough-legged Hawk and Clouds - oil on linen

2009-01-27T23:40:00.004-05:00

"Rough-legged Hawk and Clouds"

4"x4" oil on linen panel

SOLD

$100 + shipping. View/purchase here.

Number 72 of 100.

I took up bird watching as a hobby about twenty years ago. One sight that has always amazed me is a hawk soaring amid the clouds. Hawks seem to "own" the sky. But not always. Every once in a while you'll see a flock of crows gather and harass a lone hawk that shows up in "their" territory.

Schoodic Point - oil on canvas

2009-01-26T19:37:00.003-05:00

"Schoodic Point" 4"x5" oil on canvas

SOLD
$100 + shipping. View/purchase here.

Number 71 of 100.

Birds and Sun - oil on linen

2009-01-25T22:10:00.005-05:00

"Birds and Sun" 4"x4" oil on linen panel

$100 + shipping. View/purchase here.

Number 70 of 100.

Old Haunt - oil on canvas

2009-01-25T00:53:00.007-05:00

"Old Haunt" 5"x4" oil on canvas

SOLD
$100 + shipping. View/purchase here.

Number 69 of 100.

School Zone - oil on canvas

2009-01-23T19:53:00.006-05:00

"School Zone" 5"x4" oil on canvas

SOLD

$100 + shipping. View/purchase here.

Number 65 of 100.

As a boy, I used to walk this road on the way to school.

Parking in Rear - oil on canvas

2009-01-21T21:07:00.005-05:00

"Parking in Rear" 4"x5" oil on canvas

SOLD

$100 + shipping. View/purchase here.

Number 67 of 100.

On Mosquito Island - oil on canvas

2009-01-21T18:33:00.003-05:00

"On Mosquito Island" 4"x5" oil on canvas

SOLD

$100 + shipping. View purchase here.

Number 66 of 100.

Black Backed Gull in Strong Light - oil on linen

2009-01-19T11:58:00.000-05:00

"Black Backed Gull in Strong Light"

4"x4" oil on linen panel

$100 + shipping. View/purchase here.

Number 65 of 100.

Heads Up, Holsteins In Grass - oil on canvas

2009-01-19T00:45:00.003-05:00

"Heads Up, Holsteins In Grass"

4"x5" oil on canvas

$100 + shipping. View/purchase here.

Number 64 of 100.

Two Paintings in honor of Andrew Wyeth

2009-01-16T23:58:00.003-05:00

A special note:

With the passing of Andrew Wyeth today, I decided to do these two paintings in honor of him. Mr. Wyeth commented very favorably on my work several times at Mars Hall Gallery. I'll always treasure that. He particularly appreciated my use of light. So, with that in mind, I decided to do "Cemetery Angel" in honor of him as well as "End of Wyeth."

"Cemetery Angel" 4"x4" oil on linen

SOLD
$100 + shipping. View/purchase here.

"End of Wyeth" 4"x5" oil on canvas
© Brian Kliewer

SOLD

$100 + shipping. View/purchase here.

The Olson House...made famous by Andrew Wyeth.

Daybreak - oil on canvas

2009-01-15T21:18:00.003-05:00

"Daybreak" 4"x5" oil on canvas

$100 + shipping. View/purchase here.

Number 61 of 100.

Apples and Oranges - oil on canvas

2009-01-14T22:24:00.005-05:00

"Apples and Oranges" 4"x5" oil on canvas
© Brian Kliewer

SOLD

$100 + shipping. View/purchase here.

Number 60 of 100.

Dead of Winter - oil on canvas

2009-01-13T23:44:00.004-05:00

"Dead of Winter" 4"x5" oil on canvas

$100 + shipping. View/purchase here.

Number 59 of 100.

A Warm Day in May - oil on linen

2009-01-12T23:21:00.008-05:00

"A Warm Day in May"

4"x4" oil on linen panel

SOLD

$100 + shipping. View/purchase here.

Number 58 of 100.

Belted Galloway Confab - oil on canvas

2009-01-11T21:30:00.004-05:00

"Belted Galloway Confab" 4"x5" oil on canvas

SOLD

$100 + shipping. View/purchase here.

Well, I'm back. I had to take some time off whether I liked it or not. However, my goal is still to keep this a 100 Paintings In 100 Days project no matter what. Stay tuned to see if I do it.

Shelter - oil on canvas

2009-01-03T23:30:00.002-05:00

"Shelter" 4"x5" oil on canvas

$100 + shipping. View/purchase here.

Number 56 of 100.

Howe Hill Road - oil on linen

2009-01-02T22:32:00.003-05:00

"Howe Hill Road" 4"x4" oil on linen panel

SOLD

$100 + shipping. View/purchase here.

Number 55 of 100.

Shadow Play - oil on canvas

2009-01-01T18:56:00.006-05:00

"Shadow Play" 4"x5" oil on canvas © Brian Kliewer

SOLD

$100 + shipping. View/purchase here.

Number 54 of 100.

January Calendar Page Featuring "Winter Whites"

2009-01-01T00:58:00.002-05:00

For January's printable calendar I'm offering "Winter Whites." Just click on the image to download the PDF. For private, non-commercial use only. (2.39 MB)

Clarry Hill Road - oil on canvas

2008-12-31T17:04:00.004-05:00

"Clarry Hill Road" 4"x5" oil on canvas

SOLD

$100 + shipping. View/purchase here.

Number 53 of 100.

Cloud Shadows - oil on canvas

2008-12-30T21:36:00.003-05:00

"Cloud Shadows" 4"x5" oil on canvas

SOLD

$100 + shipping. View/purchase here.

Number 52 of 100.

Monhegan Boats - oil on canvas

2008-12-29T23:52:00.005-05:00

"Monhegan Boats" 4"x5" oil on canvas

SOLD

$100 + shipping. View/purchase here.

Number 51 of 100.

Winter Tree and Nest - oil on canvas

2008-12-28T23:02:00.006-05:00

"Winter Tree and Nest"

5"x4" oil on canvas

SOLD

$100 + shipping. View/purchase here.

Number 50 of 100.

I am now officially half-way through my 100 Paintings In 100 Days Project. I can't believe it. I've received a lot of favorable comments in email and I thank you all. Expect to see a few more experiments in the second half, and maybe a series or two, or even three before it's done.

Summer Reflection - oil on canvas

2008-12-27T23:02:00.001-05:00

"Summer Reflection" 4"x5" oil on canvas

$100 + Shipping. View/purchase here.

49 of 100

Farmhouse, South Warren - oil on canvas

2008-12-26T23:48:00.002-05:00

"Farmhouse, South Warren"

4"x5" oil on canvas

$100 + shipping. View/purchase here.

Number 48 of 100.

Field Edge - oil on linen panel

2008-12-25T23:02:00.002-05:00

$100 + shipping. View/purchase here.

47 of 100.

A Little Choppy - oil on canvas

2008-12-24T22:23:00.006-05:00

"A Little Choppy" 4"x5" oil on canvas

SOLD

$100 + shipping. View/purchase here.

Number 46 of 100.

Belted Galloways and Fog - oil on canvas

2008-12-23T22:51:00.006-05:00

"Belted Galloways and Fog"

5"x4" oil on canvas

SOLD

$100 + shipping. View/purchase here.

Number 45 of 100.

Vinalhaven Cove - oil on canvas

2008-12-22T22:59:00.006-05:00

"Vinalhaven Cove" 4"x5" oil on canvas

$100 + shipping. View/purchase here.

Number 44 of 100

After our winter bomb yesterday (below - there is a car under there somewhere...believe me!), I couldn't bring myself to do another winter scene.

Snow Storm - oil on canvas

2008-12-21T21:55:00.002-05:00

"Snow Storm" 5"x4" oil on canvas

$100 + shipping. View/purchase here.

43 of 100

I did this from my studio window. I could change the name of the blog to "The Life and Times of Brian Kliewer" since it's becoming a reality TV show of sorts. We are currently getting pounded! What you see here in this painting is already yesterday's news. The final accumulation is going to be much higher than this. Plenty of shoveling on hand for tomorrow!

Look for more of these views to come. I have several compositions in mind from the same vantage point.

Autumn Belties - oil on canvas

2008-12-20T23:57:00.003-05:00

SOLD

$100 + shipping. View/purchase here.

Number 42 of 100.

After my "cold" study, I thought I'd return to more familiar territory with my Belted Galloways. But to add interest, I decided to go with autumn colors. I also thought that having the main animal staring right at the viewer, it would be interesting to have it coming right out of the dark background. If you can add "mystery" to a Belted Galloway, I guess this is how you'd do it.

Check out the rest of my 100 Paintings In 100 Days collection.

Friday Funnys

2008-12-18T23:55:00.001-05:00

For new blog subscribers, every Friday I try to find something that's better than the news! It might be a "Funny" or it might be two of them, i.e., "Funny(s)". Yes, yes, I know it's spelled wrong... enjoy!

We had a cat that used the toilet on his own. He was adopted from the local animal shelter. We were surprised one day to hear him doing his business. But he never was quite this adept! Still, if I could have trained him to do this after doing his job, think of all the money I could have made from the book...

Nor'easter - oil on canvas

2008-12-18T19:32:00.011-05:00

"Nor'easter" 4"x5" oil on canvas

$100 + shipping. View/purchase here.

According to the weather service, we're due to have one of these this weekend. So, I thought I'd "prepare" for it! I'm hopeful that we won't lose our power, but, having done that more than once already this season, I think it's best to be prepared.

This is number 40 of 100. See the rest of the 100 Paintings In 100 Days collection.

Landfall - oil on canvas

2008-12-17T22:29:00.004-05:00

"Landfall" 4x5" oil on canvas

SOLD

$100 + shipping. View/purchase here.

Number 39 of 100.

View the entire 100 Paintings In 100 Days collection.

If you recently subscribed to my newsletter, and to the blog, you are going to see some overlap. I'm sorry for any inconvenience this might cause. The blog gets updated every day while the newsletter is sent Mon-Fri as the project is underway. Both have their own unique content, but there is duplicated content Mon-Fri as the site gets updated as well.

Winter Hay - oil on canvas

2008-12-16T23:43:00.008-05:00

"Winter Hay" 4x5" oil on canvas

SOLD

$100 + shipping. View/purchase here.

Number 38 of my 100 Paintings in 100 Days.

Nubble Light - oil on canvas

2008-12-15T20:30:00.006-05:00

"Nubble Light" 4x5" oil on canvas

SOLD

$100 + Shipping. View/purchase here.

Number 37 of my 100 Paintings In 100 Days project. Look for this one to be done as a much larger painting as well.

Morning at Seawall - oil on canvas

2008-12-14T23:32:00.002-05:00

"Morning at Seawall" 4x5" oil on canvas

$100 + shipping. View/purchase here.

See the entire 100 Paintings In 100 Days collection.

Boulder at Pemaquid - oil on canvas

2008-12-13T23:07:00.002-05:00

"Boulder at Pemaquid" 4x5" oil on canvas

$100 + shipping. View/purchase here.

Number 35 of 100. This is the same boulder that I painted in "Pemaquid" earlier, just from a different angle.

View all of the 100 Paintings In 100 Days collection!

Bass Harbor Light - oil on canvas

2008-12-12T23:10:00.007-05:00

SOLD

$100 + shipping. View/purchase here.

Number 34 of my 100 Paintings In 100 Days.

Friday Funnys

2008-12-12T00:14:00.003-05:00

Two this time....

Update on the Banking crisis...

News from Japan

Following the problems in the sub-prime lending market in America and the run on HBOS in the UK, uncertainty has now hit Japan. In the last 7 hours Origami Bank has folded, Sumo Bank has gone belly up and Bonsai Bank announced plans to cut some of its branches.

Yesterday, it was announced that Karaoke Bank is up for sale and will likely go for a song, while today shares in Kamikaze Bank were suspended after they nose-dived. Samurai Bank is soldiering on following sharp cutbacks, Ninja Bank is reported to have taken a hit, but they remain in the black.

Furthermore, 500 staff at Karate Bank got the chop and analysts report that there is something fishy going on at Sushi Bank where it is feared that staff may get a raw deal.

And...Blondes DO have more fun. Don't believe me?

Football FINALLY makes sense..........

A guy took his blonde girlfriend to her first football game. They had great seats right behind their team's bench.. After the game, he asked her how she liked the experience.

'Oh, I really liked it,' she replied, 'especially the tight pants and all the big muscles, but I just couldn't understand why they were killing each other over 25 cents.' Dumbfounded, her date asked, 'What do you mean?'

'Well, they flipped a coin, one team got it and then for the rest of the game, all they kept screaming was: 'Get the quarterback! Get the quarterback!' I'm like...Helloooooo? It's only 25 cents!!!!

Winter Sun at Seawall - oil on canvas

2008-12-11T23:55:00.004-05:00

"Winter Sun at Seawall" 4x5" oil on canvas

SOLD

$100 + Shipping. View/purchase here.

Pemaquid - oil on canvas

2008-12-10T22:51:00.003-05:00

"Pemaquid" 4x5" oil on canvas

$100 + Shipping. View/purchase here.

This is number 32 of 100. I've painted Pemaquid Point Light several times but never this small. Here the lighthouse is more of an element of the landscape rather than the main player. Sort of a man-made continuation of the tree line.

View all of the 100 Paintings In 100 Days.

Snow Squalls - White Mountains oil on canvas

2008-12-09T23:26:00.003-05:00

"Snow Squalls - White Mountains"

4x5" oil on canvas

$100 + shipping. View/purchase here.

100 Paintings In 100 Days.

Marshall Point Light - oil on canvas

2008-12-08T23:34:00.007-05:00

"Marshall Point Light" 4x5" oil on canvas

SOLD!

$100 + shipping. View/purchase here.

Marshall Point Light in Port Clyde, Maine. This is the lighthouse "Forrest Gump" visited in his cross-country run in the movie. Watch the 100 Paintings In 100 Days project.

Winter Crows - oil on canvas

2008-12-07T17:27:00.003-05:00

"Winter Crows" 4x5" oil on canvas

$100 + shipping. View/purchase here.

Number 29 of 100. We've had a flock of crows gathering in the tree nearby. The other night when I was out, they were making a lot of noise. Seems funny to hear them after dark. The tree has been full of them! Yesterday, as the sun was beginning to come up, I heard them again.

I've always liked the way they look in a winter scene. I'm thinking about working this into a larger painting yet.

The Sternman - oil on canvas

2008-12-07T00:06:00.005-05:00

" The Sternman" 5x4" oil on canvas

$100 + shipping. View/purchase here.

Well, "technically" I didn't make it today. At least, not as far as posting goes. My website was down for a time. But this painting was completed on December 6. So, I did make it ... still on track to do 100 Paintings In 100 Days.

Here's an interesting article on lobstering. And the spelling is "sternman," though I have seen it as "stern man" as well.

Little Wanderer, Belted Galloways -oil on canvas

2008-12-05T23:41:00.007-05:00

"Little Wanderer, Belted Galloways"

$100 + shipping. View/purchase here.

Number 27 of 100.

This little guy had a mind of his own. Kids!

This is the closest yet. I almost didn't make it. A wild day but I got my painting done and uploaded! Now I'm off to bed. 100 Paintings In 100 Days!

Friday Funnys - Well, something FUN anyway.

2008-12-05T00:28:00.000-05:00

Today was too hectic to do justice to my Friday Funny(s). So, I decided to post something that is just a lot of fun instead!

This is my recipe for no-cook fudge. I cut it out of one of my mom's women's magazines years ago. Follow it to the letter and you'll get the creamiest fudge EVER! (Don't use low-fat cream cheese...it won't work if you do.)

It is quick, it is easy, it is delicious but with a different texture than a cooked fudge.

2 cups confectioners' sugar
4 ounces cream cheese, at room temperature
2 squares (1 ounce each) unsweetened chocolate, melted
1 tablespoon milk, half-and-half or heavy cream
1 teaspoon vanilla extract
Optional: 1 cup sweetened flaked coconut, chocolate or other flavor chips, or 1/2 cup chopped nuts

1. Lightly grease a 9x5-inch loaf pan. Line with waxed paper, then lightly grease paper.

2. Beat sugar and cream cheese in a medium-size bowl with electric mixer until well blended (or process in a food processor).

3. Beat in chocolate, milk and vanilla until Well blended, smooth and creamy. Stir in any optional ingredient. Spread evenly in prepared pan.

4. Chill about 8 hours or until firm enough to Cut. Lift waxed paper by ends onto cutting board. Cut fudge into 1-inch squares .
• Makes 45.

Per plain square made with milk: 36 cal, 0 g pro, 6 fl car, 2 g fat, 3 mg chol, 8 mg sod.

I tried adding a little more cream cheese than called for once, and I noticed that I didn't have to wait nearly 8 hours. Coincidence? I don't know but the fudge was ready to cut in about 2-3 hours...and it was great!

Route 302, White Mountains - oil on linen panel

2008-12-04T19:19:00.003-05:00

"Route 302, White Mountains"

4x4" oil on linen panel

$100 + shipping. View/purchase here.

I'm planning to widen this view and do it as a much larger painting to come.