The annual show held at the Hope Center in Palm Desert was a resounding success by all measures. Many thanks to all who attended and we hope to see you again next year.
A non-objective painting invites us to peruse the flat surface of the painting without regard for subject matter.
One can enjoy the patches of glowing color, contrasting values and colors, and the surface texture
The painting can be whatever the viewer decides it should be.
The title of this painting gives us a clue that this might be a musical chord.
The luminosity of the back-lit leaves and flowers leap forward propelled by the cooler background.
The value range is from zero to ten, and the colors are intense yellows and reds, greens and magentas, making for a highly photogenic painting.
A round orb and some wet-in-wet blue create the feeling of a misty forest late at night.
An expressive painting that creates a feeling rather than spelling out the forest
This is a value painting because the use of color is minimal and monochromatic.
The subject matter is quite ordinary, but the diagonal composition creates excitement, and the parchment-like background is a perfect foil for the darker
Artwork may be presented on watercolor paper, paper based board, watercolor canvas, Yupo or other synthetic paper.
Variety and repetition of the bottles captures the eye.
Warm and cool colors create a play in the depth of the painting.
Negative spaces are extremely varied and very interesting as are the textures and colors in the positive spaces.
Very mundane subject matter that is very well designed and executed
Texture in backpack is amazing
Format very much enhances the design
Highly stylized subject matter
Three figures combine to form a single shape
Note the variation and negative space
The hard edge of the skyline contrasts with the soft edges of the clouds and of the wet-in-wet foreground.
Wonderful use of warm and cool colors.
This painting evokes the flat landscape and big skies of the Midwest.
Very simply painted with a nice division of space.
The vignette of the central detail is anchored by the two shadows.
There is gradation and a soft edge to the top shadow that contrasts with the detail and hard edges of the cherries, plate and lace.
The strength of the bison is established by the close cropping.
The moist nose and expressive eyes stand out against the unlikely orange color of the hulking body.
The use of cool colors evokes a feeling of the cold.
The distribution of the trees is varied.
The trunks and purple shadows are slightly warmer emphasizing the coolness of the foreground.
The treatment of the two hummingbirds in front of the golden moon gives a whimsical feeling.
The subject matter is unusual and delightfully treated.
It creates a feeling of a time gone by.
The choice of colors is analogous, making it an entirely warm painting.
Texture and glowing color in the foreground is set up by the interesting shape of the flat black background.
The touch of lavender against the green is a wonderful use of color.
Paintings may be on wrapped canvas or “cradled” painting panels with a minimum depth of 1 ½”.
Highly unusual treatment of the medium resulting in an ambiguous image that could be a close-up of the grain of the redwood, but also references the forest.
The hazy wet-in-wet bottom two thirds of the painting leads you into the distant headland and the glowing sky.
Texture! Texture! Texture!
Almost monochromatic with black serving as the cool color set off by the patches of yellow ochre.
Attracts and retains the eye as one examines boulders, trunks, distant vistas and more texture!
The riotous fall color of the trees contrasts beautifully with the turquoise.
The eye is led in to a calm place for contemplation.
Simple means to convey deep meaning
Highly simplified subject matter almost to complete abstraction.
A musical vision conveyed through the lilting lines over a glowing red-on-red-on orange background.
The entire painting revolves around the glowing light conveying a magical ritual.
The remainder is suppressed, especially his face, effectively creating a mystical quality.
Plein air paintings may be presented in Traditional or Open format. 80% of submitted work must be painted plein air, remaining 20% may be painted in the studio. May be any plein air subject from any location.
An Abstraction which conveys the impression of a cityscape with large trees.
The varied white and black shapes effectively lead the viewer’s eye through the painting.
The surface texture of the lines adds more interest.
Two Thirds of the painting is devoted to depicting the dynamic sky using loose, wet-in-wet color over hot press paper.
The foreground texture serves to ground the painting.
The small patches of red in the foreground are repeated in the sky.
A beautiful exercise in negative painting.
There is a unifying yellow underpainting, and the tree trunks and other elements are sculpted out by the darker painting around them.
Water and color are used to depict wetness, rain, drizzle, and distance.
Even the foreground is painted wet-in-wet.
A row of trees and corresponding shadows serve to highlight the late afternoon background light.
Patches of color connote dappled lights.
The red patches set off the greens of the trees.
The gnarled trunk and stunted limbs convey great age.
This painting must be viewed close up to appreciate the live work.
Three birch trees set at different distances from each other serve as an effective foreground to a wet-in-wet, scumbled background.
The painting conveys a sense of immediacy.
Artwork that complies with either the Traditional or Open Categories is acceptable and will all be judged together. Painting size: Maximum size on any outside edge including frame: 18”; minimum 5”.
A small but powerful piece that uses saved whites to depict the boats.
Lovely and loose passages of cool colors with patches of yellow.
Reminiscent of a Rex Brandt, one of the founders of the California School of Painting
Patches of color, spots, dots, and lines combine to depict a cityscape.
The sliver of sky interlocks with the skyline.
The hand of the artist is very evident.
Very traditional treatment of a classical subject.
Gradated purple background offsets the lemon yellow flower.
A simple statement, well-executed.
Reminiscent of Manet’s florals.
Speed and strength emerge from the flat surface directly into the viewer.
The flecks of ultramarine and orange create a feeling of the excitement of the match.
The prickliness of the thistle is very evident and effectively conveyed.
A commonplace subject made interesting by its treatment.
Analogous warm colors of yellow, orange, and red burst from the painting because of the dark purple background.
The square format is very effective.
The overlapping shapes of the flowers create a new and interesting multi-petaled shape that is set off by the wet-in-wet, blurry, cool background.