Tag Archives: Guienne Hanover

Guienne Hanover Demo Page Live

October 29th, 2009 | Posted in Carrie Lewis

On July 13, 2007, the largest portrait I’ve painted recently was completed.

A 22×28 oil painting on prepared panel, Guienne Hanover represented many challenges. It is a painting of a moment in time, rather than a traditional portrait. As such, it included a full landscape and architectural features.

The painting was completed using a variation on the seven-step Flemish technique beginning with a detailed drawing and included an under painting, color glazing and the final application of details.

A step-by-step demonstration for the portrait of Guienne Hanover is now available in the Demonstration page.

©Copyright 2009 by Carrie Lewis. See original post here.
To learn more about this artist, visit her website.

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Guienne Hanover: Finished & Approved!

August 16th, 2009 | Posted in Carrie Lewis

Guienne Hanover
22″ x 28″ Oil on Masonite Panel

Guienne Hanover is now officially complete!

Guienne Hanover is a five-year-old trotting mare. On October 20, 2007, she became the world’s fastest three-year-old trotting filly when she trotted one mile in 1:51.2 at Colonial Downs. The previous track and world record was 1:54 and the North American record for the same distance was 1:52.

The portrait was purchased at the 2007 Michigan Harness Horseman’s Association benefit auction, but it wasn’t until Guienne Hanover turned in her stunning performance at Colonial Downs that she became the subject of the portrait.

The portrait is 22 inches by 28 inches on prepped masonite 1/4 inch thick and is the largest portrait I’ve completed in quite some time.

Many thanks to the owner of Guienne Hanover. It has been a delight to combine landscape painting skills, a love of horse racing and a big painting into this very special portrait.

©Copyright 2009 by Carrie Lewis. See original post here.
To learn more about this artist, visit her website.

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Guienne Hanover; Finished but for the Tweaking!

June 30th, 2009 | Posted in Carrie Lewis

The portrait of Gueinne Hanover is now complete except for the tweaking! Praise the Lord!

I worked on the painting on Monday in spite of the fact that some of the previous work was still a little bit tacky. There wasn’t much to do, but it was about the most difficult part of the entire painting: those nasty straight lines and curved lines of the bike!

But it was put in place in the first session, then tweaked a little bit in the next.

I also did some tweaking to the driver, including the rather complicated looking design on the helmet, touched up the race track, and began the lettering at the bottom.

After that, a day or two to dry and I’ll look it over to see if I’ve missed anything and it will be D-O-N-E!

Once that happens, I’ll have to take it to the gallery, where I can place it on an easel and get sufficient light and distance to take a good photograph. It will probably stay there until it’s ready for framing or for delivery, whichever the client chooses.

©Copyright 2009 by Carrie Lewis. See original post here.
To learn more about this artist, visit her website.

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In the Homestretch

June 26th, 2009 | Posted in Carrie Lewis

The last previous work on Guienne Hanover wasn’t completely dry when I went to work the evening of Wednesday, June 24, but I decided to work on the painting anyway.

I started by fine-tuning the horse, especially the front end, but once the lights and middle tones were in place, I dry brushed Lamp Black in the mane and tail and the darkest shadows. I used Transparent Yellow Oxide, Titanium White and small amounts of Transparent Red Oxide for the bay areas and Lamp Black for the darks.

When that was done, I worked on the driver, using the lighter horse colors to start the face, then moving into the uniform with the same greens I’d mixed for grass and other areas. When working this area, I kept the edges softer and more blurred, using my fingers to break up the paint layer especially on the trailing edges. Most of that area is looking much more complete, though there are still some problem areas. Once this work is dry, I’ll add the red shapes and fine-tune the fabric.

The horse is done for the time being and the driver is nearly done. The only remaining areas are the bike itself and the helmet, which will probably be the last thing I do before the final adjustments.

It will probably have to sit over the weekend to approach anything like dry, as hot and humid as it’s been the last few days, but I may be able to begin painting harness before then. I was very happy with the work. I’m not sure it can be done by Saturday, or even by June 30, but I’m determined to get as close as possible.

I have no photographs of the painting to share, since the client hasn’t seen the painting, yet. I will post a photograph when becomes available.

©Copyright 2009 by Carrie Lewis. See original post here.
To learn more about this artist, visit her website.

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A Brief Break from Lesson Paintings

June 16th, 2009 | Posted in Carrie Lewis

I am taking a brief ‘vacation’ from lesson paintings to focus attention on the large portrait of Guienne Hanover that has been on the easel since October 31, 2008, when the first paint was applied to the under painting.

Guienne Hanover (photo by Jeff Coady, Coady Photography) is a five-year-old trotting mare. On October 20, 2007, she became the world’s fastest three-year-old trotting filly when she trotted one mile in 1:51.2 at Colonial Downs. The previous track and world record was 1:54 and the North American record for the same distance was 1:52.

The portrait was purchased at the 2007 Michigan Harness Horseman’s Association benefit auction, but it wasn’t until Guienne Hanover turned in her stunning performance at Colonial Downs that she became the subject of the portrait.

The portrait is 22 inches by 28 inches on prepped masonite 1/4 inch thick and is currently the largest thing I have going. That’s part of the reason it’s taking so long.

It is also a fully landscaped painting designed to capture the moment and setting as well as Guienne Hanover.

While it has not been painted strictly according to the Flemish technique I’m documenting on these pages, it does feature an under painting, followed by color applications in a series of opaque and transparent glazes. Lots of painting, some repainting and lots of waiting for paint to dry!

That, along with a trip or two, a three-day show and two weeks of no studio time due to illness, has led me to decide to focus on this painting above all others for this week or until it’s done, whichever comes soonest.

The portrait is very close to completion, so there is not a lot left to do. Most of the work involves several different areas that just need tweaking. The driver, the bike and finishing the horse are the major things.

On Monday, June 15, I set aside all of my lesson paintings and devoted time to Guienne Hanover. I alternated studio time with writing time, working on the painting until bending over it caused back strain, then taking a break to write or do housework, then back to the painting.

In the first session, I tackled the driver and the bike, both of which feature my two least favorite things to paint…straight lines and curves! Subject and background were worked simultaneously so I could manipulate edges, light and reflected light. I really wanted to finish each area completely before moving on to the next thing, so proceeded a little more slowly than I might otherwise have done.

In the second session for the day, I continued working my way forward by painting both hind legs and the hindquarters of the horse. Because I had already put quite a bit of work into these areas the work went fairly quickly and I was able to get all the way up to the girth without too much difficulty.

©Copyright 2009 by Carrie Lewis. See original post here.
To learn more about this artist, visit her website.

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Guienne Hanover, Progress Continues

February 6th, 2009 | Posted in Carrie Lewis

Since it’s been a week or so since the last working session, the first thing I did this week was rub Walnut oil into the areas I wanted to work.

In the past, I’ve brushed the oil onto the painting surface and wiped off the excess with a rag. But I am beginning to adapt some of Alexei Antonov’s methods in using the Flemish painting technique to paintings in progress and the method of applying oil is the most immediate for this particular project. Applying the oil by hand (as shown here) produced a much thinner, more even application of oil that didn’t require wiping off the excess.

As in the previous session, I worked with small brushes to apply paint, one to apply white and one for Burnt Umber, and a larger soft brush to blend edges as necessary. My goal was to finish the legs, but I had some difficulty getting the boot correct on the off side hind leg and ended up completing just that area and the background around it.

The following evening, I worked on the off side front leg. The leg itself was pretty straight forward. No surprises there.

But I did have considerable difficulty getting the hoof and boot correct until I realized that the opening for the boot is actually large enough that there is some visual play in it. In essence, it had to be painted like the collar of a shirt. Loose enough to show an opening.

It’s still not quite right, but once this work dries, it will be a simple enough matter to define that area more completely.

And the rest of that hoof and boot looks great, even on the computer; the true test of accuracy!

From the front leg and the gear that adorns it, I moved to some of the rest of the gear, most notably the strap that circles the horse’s belly at mid girth and from which leg harness is suspended. I painted that first, then ended up repainting it after painting the background over it and also working on the back half of the horse’s barrel.

At the end of the painting session, I spent some time on the saddle cloth. The area shown in this photo is where all of the work was done.

In both sessions so far this week, I’ve been able to paint for nearly an hour in the evening. There is defineable progress at the end of each session and I can begin to see the horse coming together.

I am also learning that with this particular method, it’s better to work subject and surrounding in the same session. That allows for the manipulation of edges and light and provides the best result.

The painting will rest (and so will I) on Wednesday. Wednesday evening choir practice makes painting impractical, so I’ll focus on writing. There is enough white in the work so far this week that it will take another day to dry enough to work on, anyway, so the timing couldn’t be better.

As always, thanks for reading and best wishes.

©Copyright 2009 by Carrie L. Lewis. See original post here.
To learn more about this artist, visit her website.

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Guienne Hanover, Part 1

July 26th, 2008 | Posted in Carrie Lewis

With the portrait of October Skies nearing completion, it’s time to introduce the next portrait.

This is Guienne Hanover (photo by Jeff Coady, Coady Photography). Guienne Hanover is a four-year-old trotting mare, but in 2007, she became the world’s fastest three-year-old trotting filly. On October 20, 2007, she trotted one mile in 1:51.2. The previous track and world record was 1:54 and the North American record for the same distance was 1:52.

She won the Virginia Breeders Elimination at Colonial Downs by 13½ lengths in a wire-to-wire victory in which she simply outran the rest of the field. (You can read all about it here.)

The portrait was purchased at the 2007 Michigan Harness Horseman’s Association benefit auction, but it wasn’t until Guienne Hanover turned in her stunning performance at Colonial Downs that she became the subject of the portrait.

This is a full racing image, as you can see, and includes some things I’ve not painted before…like the tote board in the infield.

Some of the things unnecessary to the composition have been eliminated or de-emphasized in the drawing and will be further reduced in significance for the painting. Utility poles along the backstretch, for example.

But the view I have of Colonial Downs shows a beautiful track setting with tall trees and great atmosphere. Since I will be painting a ‘moment in time’ instead of just a snap shot of a race horse, enough of the details need to be retained to identify the track and the occasion as well as the horse.

The size (proposed at 20×24) and scope of this composition means it will most likely be a two-month project. One of my goals for 2008 was to complete one major painting every month, as well as smaller paintings as able. With the exception of October Skies, which is also a large painting with a complex composition, I have been able to maintain that pace.

But Guienne Hanover has the look and feel of a portrait project that will require at least two months to complete.

But what an exciting challenge!

©Copyright 2008 by Carrie Lewis. See original post here.
To learn more about this artist, visit Carrie Lewis’s website.

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On Movies and Drawings

June 13th, 2008 | Posted in Carrie Lewis

Pencil sketch of Guienne Hanover by Carrie LewisIts amazing what you see the second time around on almost everything.

The second time I watch a movie, I always pick up things I didn’t see before. National Treasure, for example, is full of hints and clues and subtlies I saw the second time around that I totally missed the first. Even Bogart movies and Jimmy Stewart movies are that way.

As I mentioned yesterday, one of my studio tasks for the day (yesterday) was to scan the drawing of Guienne Hanover and enlarge it to full size of 24 inches by 20 inches.

The scanning part went well. So did the enlarging part. But when I looked at the full size drawing on the computer monitor, I found some areas I’d missed the first time around.

Some of them are not crucial, but some of them are. The most notable one is part of the bridle and check rein that comes down between her ears. I got so caught up in doing the driver and bike that I totally forgot those areas!

So when I do the refinement, which I hope to get to today, I will have some first time drawing, to do, as well. This is why I never (well, very rarely) send the first draft of anything to anyone!

Neal and I set up for the “Fore” Party at the Frank and Kathleen home on Sand Creek Station last evening. What an interesting setting for an art show. I have never done a ‘house show’ before and I am very excited about testing the waters in such a setting.

Set up time was an all time ‘land-speed’ record. Forty minutes or less. We were there for about 45 minutes, but spent a good deal of time visiting with another local artist, Virgil Penner, who also happens to be Newton Chamber of Commerce Executive Vice President/CEO.

Virgil has been doing pen and ink drawings since high school and was one of four featured artists at the Carriage Factory Gallery for our Summer 2007 Exhibit: The Wild, Wild West.

This past January, he began painting again, using acrylics. Part of his “Fore” Party exhibit is six of these new paintings. They are full of light and color and I would have liked to have been able to photograph them. Alas, I didn’t think to take the camera.

And more’s the pity because there were storms rolling through the area most of the evening and there was great light that included the backsides of dark, foreboding clouds to the east and bright sunshine on the golf course. The light was so bright and clear, in fact, that I could see it shining off rain drops as they fell against that backdrop of deep blue-grays. I can’t think of the last time I saw something like that.

Storms continued throughout the evening, including a couple of nearby lightning strikes that necessitated turning off and unplugging the computer for the last couple hours of the evening.

I did a little bit of painting, but it was on one of the two landscapes I started in Susan Fellows workshop last Saturday.

I also did some writing, some of it while sitting on the front porch watching the weather.

It was, all in all, a good evening, full of lots of different things. Tonight will be more of the same, though the major portion of it will take place at the “Fore” party. I don’t know how much, if any, painting I will be able to do, but my primary project right now, October Skies, is in a drying mode, so it is all working out.

©Copyright 2008 by Carrie Lewis. See original post here.
To learn more about this artist, visit Carrie Lewis’s website.

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