Pillbox Hats in the Studio

Mom always wore a pillbox hat to go out, and a neighbor gave me a few more in their original boxes to use at school. For years, the boxes lay on a closet shelf until this still life was set up in Studio 120 at the NACC. I can let the hats go now to new closet shelves, I have made this painting of them for my memories. The boxes are from Beirs, a lovely Niagara Falls department that is long gone. Vintage Pillbox Hats, 16x20 oil

Indoors in the Winter, Commission Painting

 A new customer inquired about two paintings she had previously seen, one at the Junior League Buffalo Showhouse and the other on my website, kschifano.com. 

Unfortunately, one was sold while the other was a History Museum auction item. After some discussion, and convincing meI could reproduce them, I repainted each one. It was nice to work on larger canvas indoors during the winter. I completed one in my home studio while the other was painted in Studio 120 at The NACC. 

They are both shown here leaning against her fireplace. They were to be mounted on the wall above, in lovely company with other artworks. My pleasure!

Another Moment, oil, 24x36

Still Dancing, oil 20x24 

Snowy Masterviews

It was a gray winter and I had few opportunities to paint outdoors. This year's weather inspired me to do only 3 paintings in snow. My requirements are few...no wind, at least 30 degrees and blazing sun. The sun was missing most days so in Studio 120 I resorted to a photo I had taken several years ago. 

Who hasn't stood on the viewer steps to get a better look? I like that these viewers seem to have a face, the newer models are more robotic looking with giant eyes. This one is looking to the sun and hoping for Spring, the snow fence behind it and the metal head have snow for now.

I like the whimsy of this one!

Masterview oil

Birthday Bouquet

Birthday Bouquet, 2023

This studio floral 20" by 24” (oil on canvas) belongs over a couch and I had a stunning wide frame prepared for it. That is, I HAD a beautiful frame until it slipped and shattered a corner. This art business gets pretty expensive when big frames need replacement. 

It has a new frame now, carefully wrapped and ready for assembly. 

Classic cars committed to canvas

Nearly finished

My assignment was to use individual color reference photos of two cars, combine them with another image of an old building and make it into a realistic oil painting. What’s involved? Considering the scale of the different items, their angle of view has to match, and shadows and light were corrected and accurate for each part. With help from Carl and photoshop the composition was adjusted and established and I enlarged the plan to a 16x20 canvas. Normally, I paint on the entire canvas at the same time-for example in a landscape, a bit of blue paint from the sky lands in the water and on a flower or a shadow's edge. But these are cars so other than the chrome colors they were separate paintings. I did use touches of their colors throughout but that was a forced practice. There is the merest suggestion of one reflecting color onto the other.

This commission from a 2nd cousin is headed to Georgia. I believe it was Facebook that allowed us to be reunited online after many years. We had several phone conversations about the details of these cars, our mutual relatives and parents and memories of being kids. 

Knowing what is important to a client helps a commission become successful. The convertible was restored by him and had belonged to his parents. I chose a WNY sky on a bright day, using cloud shapes to draw you into the composition and mirror the car angles.  It was a welcome challenge to paint summer light as winter closed in and Covid lockdowns were cancelling our holiday plans. Fortunately for my sanity (painting keeps me sane) it took more than a month, not constantly painting but evaluating, doing research and correcting. This was a first for me, I’m usually attracted to rusty tractors and barn equipment en plein aire. It was a pleasure to do and I’ve enjoyed having it nearby and 'watching the paint dry' before shipping the painting.

Ready for shipping

"Where's the Key" 16x20 oil c. 2021

Putting color into a still life

My dear friend Raquel brought me a spectacular bouquet of tulips which kept expanding in the winter light, reaching taller and wider until I finally brought it into my studio in front of a canvas. What fun!! 

I hadn't worked larger for a while so I loved the challenge. The tulips continued to grow so I had to make artistic decisions about placement and not look back. Then they wilted, and drooped, but I wasn't finished so the artist in me had even more fun building form and light. As a simple still life of white tulips it was lovely but when I decided to add color it told its own story. 

Paintings often name themselves or rather a title comes to me while I'm working but this one eluded me. I posted the picture on Facebook and asked for help. Two Pink Tulips. Tulips Breaking Out. Spring Bouquet. In The Pink. I Will Wait For You. Just One More. Tulips From The Garden.  Beauty of Spring. Tulips Apart. Spring Splendor. Acceptance. Thank you, friends, I chose 'Color Doesn't Make Us Different ', suggested by my artist friend, Marolyn Corriere. 

The second photo shows my painting in progress and constant companion, Chiquita. She's on loan with us for a while and loves to be with us, wherever we are.

Color Doesn't Make Us Different, oil on canvas, 22x28 c. 2018

Out The Window and Fresh Snow

Winter plein air paintings are exciting. And FAST! However, I have become progressively lazier when it comes to painting outdoors in the winter. It was a weird winter season in 2017-18, sometimes cool, sometimes cold, but almost always the days were mostly gray. No shadows and no heat equal no incentive to paint outdoors. It was an easy winter to do errands or take a ride, but without the contrasts created by my friend The Sun, painting a landscape like this took a backseat to studio work this year.

This is my 'go to' subject which is the woods behind the house. A brilliant sun after a light snowfall inspired me to set up inside at the dining room window. I've been watching these cut tree logs since the neighbor cut several trees (which are permanently preserved in many earlier paintings). They seem to change each day, each week, sometimes like they have moved themselves. Naked trees quietly surround them, like mourners for a friend. I worked with color to distinguish the slices, to give them dignity in their sad state. The brilliant shadows of hibernating wetland giants slowly passed across the field as I painted.

I can still see what was there a year or two ago, and wonder about the title. It's a lovely calm winter painting but to me it is a requiem for the fallen trunks.

Standing Tall For Me, oil 12x16 on linen c.2018

Studio painting from a plein air reference.

Using my own plein air painting as a reference for a large painting is pretty unusual. I have 'tried' it twice before and although I like to work on large paintings I do not like to work from flat references. I have become used to working from life, in real places, with real items, real people, not photographs or paintings.

This is an original plein air painting, 'Slack' which is 9"x12". I did it at my favorite jetty, the end of Ohio Street in Long Beach NY in 2013.

I reproduced it in the winter of 2015-16 for a gallery that wanted large images of my ocean scenes. This was a challenge but also fun, and a bit frustrating. It was hard to capture the sparkle of a summer morning on the shore while I was standing in the studio with a snowy winter window view next to me. The larger rocks on the easel picture are the size of the original plein air painting. The painting is 30" by 40" and is curing in the studio now. It takes a long time for oil paint to thoroughly dry after the surface seems dry.

A plein air inspires a studio painting

On March 28 I wrote about an oil painting that was about to be installed in a dental office. It was quite recent and I really liked the captured colors of Fall and the rising mist of Niagara over the first bridge at Three Sisters Islands at the Niagara Reservation. Only on the brightest, sunniest high pressure days will the plume rise so high.

At the time, winter was still raging and I was not interested in returning, so I quickly sketched the picture on a large pastel sheet, in fact it was a UArt paper which I had wanted to try for a while.

Pastels caused my wrist injury and the surgery was not six months back, I was feeling reticent about diving into a pastel composition, however, I missed using the rich and reactive sticks I had pushed aside a year and a half earlier. By pacing myself, working in little bits of time, the picture remained on my easel desk for several weeks as I worked back into holding and coloring with my pastel sticks. 

Finished, it is mounted with museum glass, flush to the frame and glass and it looks like a painting. Not the same as the oil it was modeled after but it does capture the sparkle of fall color at Niagara.

Studio Work from plein air painting

Mist Over the First Sister's Bridge, oil 18x24 pastel, c. 2015 K. Schifano

NACC Artist and Friends Exhibition

These two large paintings are displayed at the NACC for the Buffalo Niagara Art Association Spring juried exhibit. This show is in the large main gallery. In addition, there is a second show in the 'Garden Gallery' on the second floor. The 'Niagara Painters' show is representing our local group of plein air painters, formed in 2014 by Shelley Collins and Kelly Buckley, we meet Thursdays to paint outdoors in various Niagara locations.

Next up at the Niagara Arts & Culture Center there will be the NACC Artist and Friends Exhibition, an annual event that is celebrating the 10th year as a community center. 

Both paintings were long term winter projects for me, the joy of pushing paint in the studio is second only to working outdoors.

Adirondack Architecture 48X24 oil on canvas c. 2015
Glory's Bath Takes TOO Long, 36x24 oil on canvas c.2015

WIne On Third WInter displays

Winter Night's Dawn c. K. Schifano

Impact Artists Gallery held a satellite exhibit at Wine On Third, Niagara Falls. These two oil paintings were on display in January through the middle of February, the colors and mood of these paintings were perfect for the patrons braving the weather. Other artists contributed landscapes, still lifes, portraits and abstracts, for a very interesting variety compared to their usual one person exhibits. 

That Impact show was followed by an exhibit of work for the NACC auction fundraiser on March 15. I donated a painting to the show, a small salmon colored Amaryllis in a lovely gold carved frame. Go there!

Coomer Road Concords, c. K.Schifano

Winter Night's Dawn, 30x20, oil 
Coomer Road Concords, 20x16, oil 

Monica's Mists and her frame

Started last winter, this sat unfinished, clipped to a huge backing board and behind the door, for months while my wrist healed. I took it out to finish and check my grip on the pastels and slowly built up final layers over two or three weeks. It is from a photo in my files that I took in early Spring, the light pink area is a huge mound of ice taking its time to melt; the water temperature was still low and there is a massive amount of ice built up from the mist.

The inspiration for the painting is a frame. And winter studio time. Right from the start I planned to give it to Monica for her birthday, it took about 6 extra months, but she has it now. I thought it was huge, but when I delivered it to her new Fillmore Street studio it seemed to shrink on the massive white walls. She planned on bringing it her home, where it will get big again.

The frame was originally Monica's, gold with a white mat and a reddish inner mat and fancy corner detail, so I had it a looong time before I found the right image of the Falls to suit the frame and the colors. I was also hampered by knowing what colors she lives with. Truly a backwards way to work is to start with a frame and make a painting suit it. This is my only painting that includes this much of the park area and both Falls.

Mounds of Mist 20x32, pastel

Snow Day from the Studio Window

 We have planted a variety of evergreens since building this house, some blue, green, droopy, in sets of three, short, fluffy, flat and one that is really spiky. Although many were planted around the same time, they are all different sizes. Three trees from the same grower and put in three different places are just that, different. One in the woods lingered a long and slow death as trees stole the sunlight and deep shade combined with clay soil finished it off. The second is on the edge of the wooded area, as long as big branches nearby are pruned, it grows slowly. This is the third, on the property border, open to light and admiration, anchoring a favorite garden with flowers and color from Spring to Fall. It is as tall as the second story roof next door and is part of my studio view, prominent in the winter. Something about nature and nurture belongs here.

After 6 months without pastel painting I was thrilled to try out my healed hand on this. Unfortunately, using pastels will be a part time experience for me as this, combined with some colored pencil work brought back the pain. THe right side shows some large handmade and favored pastels I used on the tree and snow. Still my first love, I will carefully plan and spread out the time I put into the next few paintings with pastels. Oils are another story, I hold the brushes with different muscles. Anyway, this was fun to do, I hung it on the studio door.

Blue Spruce, pastel 22x6 

WInter in the Schifano Studio

Kath Schifano, Winter Divot

 Is it climate change? Am I just lazy? Is it age? I have a harder time each winter choosing 'good days' to paint out, particularly at the Falls. I go with camera and paint supplies on a January or February morning and come home with...photographs.

I planned to work with fresh images of snow and ice at the park, but find that the scenery is not very inspiring and that the photos are mostly black and white, or even just grey if the sun isn't resplendent.

In order to paint the Falls, but not stand around with frozen feet and goosebumps everywhere else, this winter I finally tried painting from photos and memory and have been having a perfectly lovely time in my warm studio, with great music, a glass of wine and every brush and color at my disposal. I discovered that the warmer seasons often provide the best views. Here are some of the paintings that will soon be in the Art Dialogue Gallery Collection in Buffalo

Kath Schifano, Goat Island Stroll

Kath Schifano, Peek at the Plume

Winter Divot 8x12 oil, 2013 

Goat Island Stroll, 8x12 oil, 2013

Peek at the Plume 12x8 oil, 2013

Painting Grand Island

Too cold and gloomy to paint out,  I have just finished painting a studio commission. This is another one of those 'surprise' paintings that I say I won't do anymore. Surreptitious drive-bys with my camera balanced on the edge of the car window just makes me paranoid, someday a wary homeowner will send an officer after me. "But officer, I just want to paint that house, not rob it!' 

Fortunately Malynda got into the spirit of the commission and gave me a variety of photos of different times and details. The look of Spring here is completely contrived as we started the planning after leaves fell and frost-or snow-was abundant. Her beautiful labs are near the front door in their usual positions, sitting and lounging.

The title refers to the windows, lamps and especially the two dogs by the front steps. 12 x 18 oil

Lights of our Life, oil 12x18 on board c. 2013

There is no Planning for Customers' Tastes.

During a Christmas season a few years ago I sold quite a few Niagara Falls area paintings, they are often sought after for gifts by local residents.

Last year landscapes and scenery with wide views were the favorites, but this year close up botanicals in both pastel and oil were selected. I looked at my studio display wall at the end of this season and all I could see hanging was....water paintings! My thought was that  Niagara and rapids paintings would sell well again but this year's customers were looking for more color and vibrant compositions. These are three sold examples while the painting mentioned in the last post was also bright and closeup.

It is a good thing that I paint for myself, choosing sizes, colors and subjects according to my location and media. Not having awareness of current styles I always stick to what I see and like and I had better keep that attitude.

Fortunately, people like what I do and choose to own and live with my paintings. My customers have excellent taste and have removed quite a few precious favorites over the years. Thank goodness they do because there would be no room to move around here if they did not. Except for a very few pictures, I know where each one lives, and I like knowing that.

Pond Plant, 20x16 pastel, collection of M. Irby

Pinot Noir, Not Ripe at Warm Lake, 20x30 oil, collection of DiCamillo family

Greenhouse Croton, 24x18 pastel, collection of Rusert Family 

Serendipity Success

c. Kath Schifano 2012

Different in technique from other Botanical Gardens paintings, this orchid spray deserves an explanation. The orchid room is attractive and comfortable for painting because of the variety and profusion of colors and textures with dramatic lines. The room also has left and right areas to set up where there is less traffic.

However, there is a persistent loud fan that drives me crazy, so I often choose to work in other rooms. Not this time. A dramatic orchid was placed in front of deep dark large leaves to emphasize its subtle shapes and dramatic beauty, I could not resist. Unfortunately, the heat and cold and weather changes in the humid environment create artistic hazards. In this case, big fat plops of condensation on the window grid above started to drip, spread the colors and splash. Well, the fan noise was already driving me batty, so I packed up and went home, where I continued to work on the ruined sections with a wet brush and a careful hand. I liked the effect, so I continued to paint with water as well as dry pastels and decided to go no further with the background. I like the 3-D effects of the plant and the mystery of the purples. I would love to have a stem of these cymbidium orchids in water in my home, it lasts for months.
Orchids on the Endcap, 18x12 pastel, 2012

A tale of two house portraits.

Several years ago, I painted a newly landscaped DeVeaux home (shown below) for Michele Altman, she wanted to surprise her husband for Christmas.

She called me this Fall to paint it again, same size, same view, this time a night painting and with snow on the now grown trees and bushes. Of course, this was the year that the first snow came in January, so I had to fake it. Having lived through 40 1/2 winters here I did not have difficulty with the snow, its colors or reflections, but I was challenged mightily by the colors of night, what happens to white as the lights go on, the trims and wall colors of a building that is light in daylight.

It took about 6 night trips to establish the values by sneakily sketching from my car and the last time I went I thought the jig was up. Glen had sauntered out of his house, very slowly, then sat in his car in the driveway for a long time as I guiltily waited in my car across the street. Since my car was off, I thought I was safe, but realized the headlights had remained on with a key in the ignition. Finally, he drove away. SLOWLY. Then showed up driving right next to me, I didn't look up, just pretended to be writing instead of drawing, but it really spooked me. His car went back in the driveway and Michele hurried out to the car, head down. They sat in the driveway longer than you can imagine with the engine on, finally backed out and verrrryy slowly drove down the block. Seconds later, their car was stopped next to mine. I didn't look up as she should probably recognize what I was doing. Adrenaline racing, vigilantes gathering, pistols drawn, police called, my imagination was racing and I was more than stressed. I was a stranger in their neighborhood, looking in people's windows, watching for...

They turned left and I went right, to head back home, obviously upset, when I realized the car was following me. I waited for the sirens as I followed every traffic rule and tried to casually race myself home and lose the tail. Hooray for red wine and a sympathetic husband at home, hours later I was finally composed again with that bad memory.

Finally. I spoke to Michele who said "Oh, then? We were admiring our Christmas lights."

WIth a little research I gingerly added the correct constellations for December in the night sky. The wet painting was delivered on December 24 and made a great Christmas more special for all of them. And I am promising myself AGAIN, not to paint any more surprise commission paintings from my customers.

December 10pm, oil 24x24 2011
Altman Home, oil 24x24 2007

The Moon is A Balloon, 2011 & Wine On Third

 Years ago I started this rose painting, it was one of my early large floral pastels. It was matted & framed under glass-until the glass broke. I adjusted it to have a double mat after reworking the naked image in 2006, when I added blues to the previously white sky as well as more values of yellow in the petals. The rose peacefully settled in a quiet corner of the living room for several years. 

This summer I took it down and re-reworked it. The sky gained more blues, greens and a bit of violet, the  petal shadows were made richer with violet and orange and I finally completed the stem; poor rose only had sepals without a stem. Under glass, it is finally ready to show.

Invited to be July 'artist of the month' at Wine on Third, Niagara Falls, this painting is the first on the wall in a series of large florals and food paintings there as well as 6 Niagara Falls paintings. It is finally in public along with other studio works. Having mostly painted and shown smaller plein air paintings recently, I enjoy seeing the display of large works together, and it will be up until August.

The Moon Is A Balloon, 24x30 [framed to 30x36] 1995-2011

Rivershore colors

This Cayuga Island home portrait has been in progress on my easel for nearly 3 months and it is leaving me as a surprise gift to the homeowner. I had promised myself to never do another surprise house painting because there is little opportunity to spend time sketching the building and generating a personal relationship to develop the composition. Cameras flatten images and the eye is more honest. It happens to be cited on the water, surrounded by mature majestic trees so it was easier to select a view.

However, there are many details to any house and I did several 'drive-bys' to take pictures. The neighbors wondered what was going on, the kids playing hockey in the street just stared. It felt like I was lurking and clicked photos from the window of my car since someone always seemed to be home.

I took the first pictures in early Spring when trees were bare; this let me paint the sky, lawn and entire house and place the trees and significant branches. As the foundation plants grew in and trees claimed their shapes the portrait could continue. A fairly large painting, this is a lovely heirloom that commemorates the energy the owners invested in creating a lovely home.

There is always a little feeling of loss when another painting leaves. Now, what's next!!??

Rivershore Colors, 22x28 oil, 2011