Renewal by Meg Lyman
18×24″ oil on board
The first in a series.
On “violently modern painters:”
It seems a pity even so simple a technical course as could be furnished by an ordinary house-painter as to a decent manner of putting on paint, has not been indulged in.
Page 64, Oil Painting Techniques and Materials by Harold Speed
I’ve had Harold Speed’s book Oil Painting Techniques and Materials for ages; it was recommended to me by someone smart. After I learned that James Gurney was going to do a Book Club on it, I decided to read it finally. You should too because it is full of good information, not only on the titular subject, but also on art history and how to be a good artist in general.
I have been pleasantly surprised at the quality of writing. Harold is just full of sass and I’m actually laughing while I learn. I am going to dedicate a series of blog posts to his attitude (and of course his extensive advice). To start us off, here’s a good one:
I am inclined to think that every age has the art it deserves.
Gus by Meg Lyman
Oil on black canvas, 2×4″
This is a tiny still life of an opossum skull. My sister and I found it in our Grandma’s barn. I cleaned it up and gave it to her for Christmas, like any loving sister would. I painted it first to try some new oils I got (and to keep the memory alive I suppose).
2015 was a good year. I was able to focus my art by doing more still life practice and background work, and I really got into the vulture culture/skull collecting community. I appreciate all of you – artists supporting artists, collectors, and the helpful and friendly vultures I’ve met. I hope we all have an awesome 2016!
Vanitas I – my first try at still life with lead white oil
Octophant – a fan suggestion and experiment in textures
Vanitas I by Meg Lyman
12×6″ oil on canvas
A quick study in the impermanence of beauty. This was my first time trying lead white (Rublev Lead White No. 2), and it was awesome. It really makes a difference with the textures and is great for painting skulls.
Below is the scan of the unvarnished version. Subtle but interesting differences.