A series of oil waterfall paintings

Wolf Creek Moment, 16x20 

In response to a long distance prospective customer, I posted this series of paintings based on some of her criteria. She eventually selected a 24" tall, 12'' wide painting of a section of the Horseshoe Falls, a prominent rock that creates rooster flares of water, right at the precipice. It had an abstract quality that was similar to some of the paintings she originally selected from my website, www.kschifano.com.

It was interesting to find waterfalls in my collection without including large pastels, it is a whole new way of looking at a series for me. Here are 15, selected because they are waterfall themes and none of them are smaller than 10x14, all will be wall enhancing beauties!

All of these are OIL paintings. Most are painted on canvas mounted on a panel, a few larger ones are on canvas mounted on stretchers or a panel, but all have similar textures of paint on the surface. I tried to post the same sizes together for comparison, size determines the cost. The sizes on the screen are not to scale here, so look at the size listed underneath. Colors on the screen will not be exact as every computer is calibrated different. Some colors may not be as bright-or dark- as they look here. Framing can be arranged.

Interested? Comment below or my email, which is  ks [at] kschifano.com

Peace at Blossom Falls, 16x20 

Steps of Niagara, 16x20

Noise, 16x20

Rush, 16x20

November Plume, 18x24 {On Easel}

 Dam Leaves 12x18

Morning Light on American Falls 24x24

Rainbow Bridge & Mist, 24x24

Rock Of Ages, 24x12

Riding the Middle Falls, 12x24 

International Mist 12x24

The Horseshoe from 3 Sisters 12x24

Composition With Ice, 10x14

After the Rain, 11x14 

The 'shoe, 18x24

www.kschifano.com

First Prize

I enjoy the challenge of painting water.

Once in a while a plein air show is juried. Our NFPAP annual show is an art exhibition, but this time the Impact Artist Gallery put a call out for plein air art work, to be judged for entry as well as for prizes.

I spent quite a while deciding which paintings I should put in, frequently changing my mind, until I determined to choose these favorites, as neither had been shown before.

Lo and behold, at the reception I was awarded First Place, with a prize of a solo exhibit for my ocean panorama, but also was given Honorable Mention for my flume. This was the pastel I did in the rain, standing on a huge round boulder, surrounded by poison ivy. When the water seeped through the fabric of my umbrella I realized I should get out of the rain and poison ivy and dry off, preferably in a safer spot as the water coming down the creek was steadily increasing. Quickly finishing the forms was all that was necessary in this Adirondack scene frequently painted by the Hudson River School Painters.

This Long Island jetty was my subject for a week last summer, and the fisherman was there whenever the tide was right for fishing. The largest work I completed in oil, it has a calm but humbling mood to it. When he saw my painting, he offered his lunch to me, sticky rice and seasonings wrapped in a leaf and tied with thread and was quite tasty. I gave him some of mine, which was probably PB&J. We didn't share languages but had a fairly good conversation about the day, our camera and painting. And then I took a first prize for my experience.

Slippery When Wet, pastel 12.5 x 9.5
FIshing for a Big One, oil, 12x24

Youngstown Yacht club 'Art on the River'

Last week, the Youngstown Yacht club hosted 'Art on the River'. I often paint there, so I joined the event with some samples and had a lovely evening. After setting up I took a little cruise along the river to find a new spot to paint a sailboat commission. I'll be back next week to do that, and next year to set up at the club!

2014 art calendar

The annual assembly line was hard at work last week, the newest calendar pages were printed and picked up, and we had three days before the Lewiston Art Festival 'unveiling'. 

All I needed to do was assemble 14 pages in backwards month order, open the calendar cases by the dozen, insert the packs of pages, close the cases, insert into the celo envelopes and rip the glue cover off, fold the seal and stack. Kind of easy, but it took all day, thanks to a lot of dealing pages and collating by Carl I am ahead of schedule. In the foreground is October, the blue ones are January, ready to be packed. If you follow me online, you can order by mail through my website, KSchifano.com.  Locally they will be available at Castellani Art Museum, The Book Corner, Studio One, Quaker Bonnet, and 464 Gallery.

Allentown Association Art Exhibition

The Theodore Roosevelt Inaugural National Historic Site preserves the elegant Ansley Wilcox house  on Delaware Avenue in Buffalo. There is also a lovely restored carriage house which will showcase paintings of the Allentown area in early August, with a reception on Friday, August 2. This show is sponsored by the Allentown Association for its 50th anniversary and includes works of the area's features by artists who live, work or paint in Allentown.

One of my two paintings is this driveway side view of an elegant victorian home on Pearl Street, just a few buildings down from Allen Street. Painted this year, I was intrigued by the tans and browns of the structures hi-lighted by the forsythia bush and its glorious yellow presence.

I like to feature yellow flowers in paintings, it is a challenge for me, but it also holds its own on some of our drearier days, the yellow in nature paintings sparkles through the gloom of a long winter afternoon.

The second painting in this show is a colorful blue corner porch with morning glories winding up the column. It is a pastel, framed to 20x16. Pretty little bits of Allentown are making their way back to Buffalo from Grand Island for this exhibit.

Pearl Street Spring 14x11 oil,  2013

2 Paintings in North Dakota

Bismarck Art & Galleries Association sponsored a Square Foot Show in their gallery for the second year. These two paintings were sent to North Dakota for the exhibit which runs from August 6 to 30. If you happen to be in our nation's breadbasket, the BAGA opening reception is at E. Front Ave from 5-7 pm. Let me know how the show looks and if I have a nice location for my work, I have to be here to paint in Olcott!

They are on 12" by 12" stretched canvases and the 1" deep sides are painted to continue the image around the corners. This is often called Gallery Wrap. Each is a wonderful painting and I am proud to have them represent me there.

Both of these florals were completed in the studio, started from my drawings on location. The rose was painted from a conte drawing I had wanted to use in a painting, while the peonies were started en plein air at my picnic table and brought indoors for development. The flowers changed as I watched, and the breeze moved the flowers and branches just enough that I kept losing my place in the big bush. There are so many flowers this year, I am hoping the farmers have as much success with their fruits and vegetables as I am having in our lush gardens.


Summer Glory 12x12x1 oil, 2013
Peony Riot 2, 12x12x1 oil, 2013

Carnegie Art Center Paintout on the canal

Saturday's intense gusts almost took out this setup several times, a collection of bungee cords attached everything in winds up to 50 mph. I set up in the shade of the railroad bridge, not realizing that I put myself into a windier place than an open site. I eventually moved under a tree and still had to fight the wind, all my available equipment was used to weigh down the easel. The red line in the sky is a hook attached to my easel drawer. I chose to paint the Remington Tavern because of the historic architecture [formerly Remington Typewriter] that was adapted to become a great restaurant, but also because of the beautiful flowers bursting forth from their canopy.

Working in shade allows colors to be recorded more accurately, if someone paints in sunlight, especially when the sun is on the canvas, the image appears dark when indoors.  Often my huge artist umbrella protects art in progress and the palette more than me. I could not use it here due to the high winds; otherwise boaters would be fishing me and all my supplies out of the Erie Canal.

The Carnegie Art Center sponsored this paintout in the North Tonawanda area to coincide with Canalfest. This Remington Tavern painting was displayed in the beautifully restored Riviera Theater where the giant organ was played to the delight of the crowds.

Breezes at Remington, 11x14 oil.





This is a link to a newspaper article by Jill Keppler, click to read it for my 'quotes' and a little bit of background on the day.

	Chasing light, catching shadows Source: tonawanda-news.com There are life lessons in plein air painting: It's all about location. Life keeps moving. Travel light. Embrace imperfection. Roll with the punch

Publisher's Invitational Plein Air 2013 paintings

This is it. All of my finished paintings, from nearly a week in the mountains, sort of taking it easy, so I also have a collection of drawings and sketches to go with these as well as a head full of beautiful memories.

This first landscape painting is '3 Dollar Sky', pastel 9x12 because I started by laying in the gray-blue for the sky with a new stick of Unison pastel. It was half gone when I had the undercolor completed. As it cost $6 a pastel stick it was named well.

 'High Falls 3' 16x 12 pastel. This was my second trip carrying gear down the semi perilous steps, but I had also painted a 4 foot tall picture from my previous references.

 On the way home, we stopped in Harristown for a 'painting break', one more for the road? one of just two oils I did this week. 'Harristown Interlude', oil 8x12

 Norman Ridge Skyline, pastel 9x12 Miles of mountains recede on the horizon. The air at this altitude was so fresh, the wildflowers were bright and the day was perfect, with perky little crooked clouds trying to stay afloat.

Return to the VIC3 oil 8x12  Three paintings in 3 years from the same spot, if only I had walked another 200 yards to a super paint spot in shade. Next time, I suppose.

'Rocks at Bog Falls', 9x12 pastel, a very quick painting, there were a lot of bugs in the muddy spot I selected for this composition.

 Roosters at Bog River Falls', pastel 12x16, the first I painted here.

 Solstice Above the Flume, 9x12 pastel. I was looking down at this section of the rapidly descending flume water, seated on huge round rocks at the edge of the cliff. I was sort of tilted forward so my toes were constantly pushing me back from the edge as I painted. When I finally got up my feet were very happy as well as stiff.

From the same vantage point I was able to see the Flume below, perhaps my favorite image of the week. We arrived very early in the morning before the rest of the campers and I ventured very close to this falls area to paint this one first. As I finished, a bit of sunshine sparkled on the top of the waterfall, shining into the gorge from overhead.

Solstice Sun on the Flume, pastel 12x9

3 Variations of Marsh Grasses in Western New York

If they have not been crushed by heavy snow, marshes keep their tall fronds of dry golden grasses through the new year, until new grasses fill in. Spring growth adds bulk and color variations as the green shoots stretch for sunlight.

These were coincidentally painted the same week, each about 25 miles further away.

The first is an oil, made in Buckhorn State Park, my favorite meadow, secluded and quiet, with a distant view of mists from the Falls to the west. It was hot and a little buggy, occasional clouds gave me a break from the sun even though I had an umbrella for shade. The marsh grasses nearly glowed white in the sunshine

The center painting is a pastel, painted at Tuscarora State Park on my second visit there this year. Peggy sat close to the water and made a statement about the movement of the water, giving me an idea for the title. It was neither hot nor cool, just a perfect painting day.

This last picture is also pastel, painted deeper into the Tifft Nature Preserve than I usually venture. A map noted that the water is named Mosquito Pond. Wrong. The non native Red Ants in this area were atrocious, even marching in thick lines on the raised walking platform. I tucked my pants into my socks, sat with only my boot toes touching ground and occasionally jumped around. It makes me itchy to remember as I write this! The grasses here seemed almost pink at the tops, I liked the horizontals formed by the receding layers of nature and the patterns of verticals from the growth near to far.

Ironically, I created three paintings in one week with the same subject, unintentionally, each captures its own moment and place.

Reminiscing, 9x12 pastel, 2013
Water Flows Both Ways, 9x12 pastel, 2013
Mosquito Pond in Tifft, 9x12 pastel, 2013

Lilac Gardens in Niagara Falls, Ontario

c. K Schifano

I am so fortunate to be able to get outdoors and spend a day in nature. Finding the right weather helps! A planned outing to the Niagara Parks in Ontario was postponed because of doom and gloom weather reports, but I chose to venture across the bridge anyway, the day seemed bright. It is close and I wanted to capture the lilacs in bloom. They were early this year and I was going to miss them if I waited.

Open fields by the expanse of the Canadian power project were subject to the announced winds, so I set up against the breeze, behind the car, easel on the ground with me on the inside of the car surrounded by pastels and materials. Within an hour I was gripping the top of the easel to steady it in gusty winds and watching tourists walk around sideways, head into the wind, clothing whipping around. It kept getting stronger while the scent of lilacs increased and the bushes rattled to their roots.

Working in pastel, all excess powder from my sticks was gone with the wind, mark making had a whole new meaning for me in the gales that started increasing. I always said I would rather paint in the rain than wind, but I love the plein air effect of wind in this painting. It still vibrates and blows on my page.

As I finished, fat raindrops started and I pulled the hatch shut. My drive home was erratic as the gale winds had toppled trees, broke large branches and sent all sorts of things into the roadway, heavy rain compounded the difficulty. I had spent the day out, captured it and made it home safely, another great paint adventure.

Windy Lilacs, 12x9, pastel, c. 2013

North Tonawanda boathouse park

 Notice the tiger!

 The NFPAP painters returned to the Niagara River and one of our favorite spots, near the Erie Canal. This day, the wind at the N. Tonawanda boathouses was too strong for me to paint so I was sketching various angles of buildings on the water. One of the residents asked me to paint their two cottages, including the huge tiger on the porch roof of the white one. Sitting in the shade of a huge tree with my car blocking the wind, I enjoyed the atmosphere of the residents tackling summer chores around me.

Side By Tiger, pastel 9.5 x 12.5 pastel c. K. Schifano

Whirlpool State Park Painting

This first painting is only 3x5, the size of an index card. I painted this when I arrived in the morning, the light was coming from the left as I stood well up on the hill overlooking the lower Niagara gorge at Whirlpool State Park. 

This photo shows my [ incomplete ] 2nd painting of the same scene in progress. Working larger, in the late morning to afternoon light, the shadows have nearly reversed, the colors are flatter in full sun and even the dramatic old Whirlpool bridge has lost its brilliant glow of morning. Having finished both of the same scene, it is hard to believe that they are the same place on the same day.

Shadow on the Whirlpool, 8x10 oil

Turning around from my easel, the colors of Spring and dense shadows on the ground were tempting me to try a third painting....but the second one had to be completed before I retrieved a new panel. By then, my bones wanted to sit in the soft seat of the car and go home. I will try to remember to come back here next Spring to find another spot and perhaps capture the trees in flower.

Painting For Preservation

As a plein air painter, I have some unique opportunities to meet people, make artistic statements and work in new places. On May 4, the Painting for Preservation group met at 54 North Street in Buffalo to paint this relic and bring attention to the possibilities for rehabbing. For decades, it was the home of a radio station, it was also a gift shop with the most memorable gardens out front. Vacant for too many years now, there are still hyacinths and tulips popping up in the yard and the fancy brickwork, although painted, is still dramatic.
Shadows of History, pen, c. 2013

Just a few blocks away, East Utica Street has a row of large Victorians, well kept for a hundred years, but now vacant and succumbing to the elements. Various artists met there on May 14, another beautiful Spring day in Buffalo, drawing friendly visitors, children and neighbors.

Angles of History, pen c. 2013

These two drawings, as well as a pastel and oil series of my grain elevator paintings and other P4P works are displayed at a group show at CJ Jung Center on Franklin Street in Buffalo through the summer.

Some of the painters, neighbors and visitors on Utica Street.

Painting a House Portrait

For a long day, morning to night, I worked on this house portrait, indoors but with dreams of plein air. I had sketched it the night before and knew I would need a lot of time for all the nooks and crannies and landscaping. I left it outdoors to hasten drying while I grabbed my lunch. I was leaving Texas on a plane the following day and needed to complete the painting which was commissioned the day before. It is always interesting to see how a project like this progresses, not every home starts with the sky, and unless it is plein air they are never finished in less than a week.

The title is from the homeowner's beautiful red bushes, clusters of Texas flowers that can be planted like hedges.

The final picture had a bit more texture on both the roof and brick as well as stronger shadows in the eaves. I didn't get the final photo because...it was dark out and I needed southern daylight to shoot the picture. I am surprised the wet paint did not glare more than this.

Rocket Roses, oil on canvas panel 10x14, 2013

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

Texas architecture paintings

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My March 19 post contained a plein air painting I did in Houston. That outdoor excursion resulted in two new commissions, two similar homes in the Cypress area, both had many roof peaks and mature landscaping obscuring the beautiful architecture.

I often wonder why photos do not have layers; if only I could peel trees off the front to see what is underneath. Even with a handful of clear photos I had a hard time painting the whole shape of the structure. My habit is to paint the building and place the trees afterwards so some structure shows through.

An interesting detail by the architect was to include color variety with the brick, around the basket handle windows were outline layers of a different brick, orange, giving definition to the repeating triple windows. When I return to Houston I will look for more examples of two brick combinations. I have seen stone and brick as well as frame and brick homes here, but I had not noted the detail before, it breaks up the long facade and adds visual variety to it.

Park Island Spring, oil on panel 10x14, c. 2013

Schifano-Simons paint adventure

 I am not the only artist here. As I captured the majestic towering palm in a neighbor's yard on my little canvas panel, Amelia joined me to enjoy the shade on the deck and paint the afternoon away. Her watercolors were full of life and expression, the composition was beautifully and naturally arranged and we sure did have a good time, alone with our art, together with our experiences.

I was working to make the picture show the light and breeze of the afternoon and the camera recorded a better view of this palm than my painting did! My painting is a bit less bright and sunny than the picture in the next post, but the day and the memory are perfect.

Painting Houston in the Spring

Azaleas are bright and beautiful in Houston in March, this lovely home caught my eye as we drove by. Fortunately there is a shade tree across the street so I was able to plein air paint there. When I went close to the azaleas the pink blooms were as large as roses and glowing in the southern sun. The pines were giants, scattered on the property providing shade and majesty to the pretty corner home that welcomes you to a lovely established neighborhood.

I did a little more work on this after the photo was taken, some shadows and lights on the lawn and trees, straightened a few lines and details on the building. This painting was too wet to travel as I really piled paint onto the azalea hedges and my white is a very pokey dryer. Since I will return to work through my "must paint around Houston" list in the fall I left the wet canvas on Robin's mantel, and it looks pretty nice up there! I will have several dry paintings ready to varnish then.

There are no giant towering hardwood shade trees in Houston like we have up north, but the various palms and fruit trees are delightful to see and do create shade. This palm was way above the house across the street, just waving in the breeze and capturing the light. I painted this little panel from a comfy deck chair with 3 year old Amelia painting with watercolors beside me. We had a lovely afternoon together until she decided her bubble lawnmower should go down the slide and painting was interrupted. 

March Azaleas, 8x10 oil 2013

Afternoon Shade, 5x7 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

A Lesson in Painting

The first of several deliveries here last week was a paper wrapped bunch of...mini orchids...just what I needed! My sister, Bobbie Peters had sent them, she knew I would arrange the flowers and probably use them for a painting. I had been to florists twice in the past looking for this particular flower so I was especially pleased.

I had already signed up for an artist workshop with Thomas Kegler a week after they arrived and one of the items on the supply list was objects for a still life. I grabbed some tomatoes, peppers, oranges, ribbons, small boxes to stack under the drapery and half the original bouquet to head to East Aurora and the Roycroft campus on a frigid Saturday. Three years earlier I had made a '5 year plan' of personal goals and attending an art workshop was on the list. Check! His Hudson River painters traditional style attracted me, particularly the way his surfaces are developed with glazing. Although using the Hudson River painters techniques are not on my short list, my experiences painting at historic locations in the Adirondacks these past two years have piqued my interest.

Tom's friendly attitude and open sharing of technique made the 8 hour class valuable to me, as a self taught oil painter I have read articles and books and painted next to many painters, but this was a challenge to actually follow someone else's instructions. Using odorless mineral spirits for an underpainting was the first big change, my mind kept going back to his demonstration and trying to follow his different approach to working on a canvas. Having already finished my 'first thousand paintings' it took effort to adjust what I already do, but I was able to experience painting in a new way for the day and had a lot of fun in the process. Overall, the biggest thing I learned is not in this picture yet. Final glazing with thin color adds warmth to the picture and brings out some texture in the brush strokes. When I do that I am going to try it first on another picture that was waiting for a finish, then come back to this one.

Although I have painted still life pictures and flowers in a vase before, this will always remain special to me, my sister sent the flowers and they are in memory of Martha.

Roycroft Still Life, 20x10 oil on wood panel 2013

Spectacular Chicago brownstone

This 24x12 oil painting started with a snapshot on a gray day but my info was supplemented by an excellent image in street views on Google maps. It is a wedding present of Jason & Jaime's first home; the challenge of documenting historic brownstones continues!

Chicago architecture has many features found in Western New York, double porches, brick constructions, 100 year old beauties. This yellow 'brownstone' has more of the qualities of Brooklyn without all the matching end to end neighbors. These residents have lovely windows and daylight on all sides, a real bonus in this historic building.

Chicago's Brownstone, 24x12, oil c. 2012