Moon Over the Moor, June 7, 2010

In 2004, I was granted my first solo museum exhibition at the Carnegie Art Museum, Oxnard, California.

As part of the exhibition I performed a slide presentation on the history of nocturne painting. After the show, while the lights were off I turned on my book lights and headlamp, and spent approximately forty minutes demonstrating the night painting techniques I use to paint out on location.

This painting, was purely from imagination: I designed it, first, from a small sketch. I gave the composition a low horizon line, showing the moonlit road (lead line) sweeping up to some Irish type cottages.

I left a few lights on in the structures to give it a sense that somebody may be home. (A human touch sometimes adds warmth and mystery to a painting). However I didn't want too many ambient light sources denoted, for they would distract from the painting's main focal point; the moon.

I began with a green under painting, which, when mixed with the cool blue gray tones of the night, offered an interesting contrast. It is an overall cool painting.

I am still intrigued by this painting; It gives me this desire to visit and paint in Ireland some day; to not only paint, but Howl at the Moon...

Walking Amongst Masters, June 6,2010

When I went back to school to get my Master in Arts Degree in 1997, I sought out my teachers. I found a book in an art store by the contemporary master artist, Harry Carmean, who's proficiency and skill with line and form have astounded many art officianatos.

Fast forward to last night at the four seasons Biltmore in Santa Barbara; the Bottoms Gallery hosted a one night salon, exhibiting the artwork of Harry Carmean, for one evening.

Walking in to the salon I was very still, taking in the beauty before me. All the paintings were hung and lit well, and framed nicely. What a treat; to be in the presence of such masterworks, of an artist I'd only heard about, and studied, years before. There's nothing like the real deal.

As the evening went on I introduced myself to Harry, who was conversing with another contemporary Master Artist, James "Bud" Bottoms. (I show my work at Bud Bottom's Son Joseph's gallery)

This was just a brief orbit of us three artists. I was all ears as Harry and Bud shared their WWII stories: Harry was in the 2Nd Wave of U.S. forces on Omaha Beach, firing anti-aircraft, Bud operated radar on TBF's in the Pacific.

The rest of the evening was spent in dialog on art and masters of the past. The flow was extraordinary; always placing things in context. I feel it could have gone on all through the night.

I left there, feeling grateful, and appreciative for that which is to come.


Photo:

"Harry Makes a Point"
Left to Right: Harry Carmean, Myself, James "Bud" Bottoms

Night Shift. June 5, 2010

Just spent this last week finishing, framing, and hanging my paintings at the Santa Barbara Tennis Club. It is a group show called, "Night Shift". I am exhibiting my plein air (open air) nocturnes along with fellow noctural painters Cyndi Burt, Filberto Lomeli, Doreen White, and Paul Cumes.

The show is up, it looks good. Come to the opening if you can on Friday June 11 from 530 to 730. The show will be up until July 6, 2010.

I'm pleased to say I have sold two of the four paintings sold thus far, in the pre sale hours before the event.

This is one of my paintings sold, and it is a fine thing to know people are willing to buy art in this Economy.

It is a great neighborhood in which to exhibit.

Moonset, Carpinteria Bluffs
6x9, oil/canvas, 2010
Private collection

Casa Dahlias, June 4, 2010

Been kinda scattered these days with Graduations et el.

But no mind, when it gets like that it's important to enjoy the simple things in life, like fresh cut flowers. Ah, simple pleasures.

These flowers were cut and placed in the beautifully designed home by Master Architect George Washington Smith, called, the Casa del Herrero, in Montecito California. I painted this still-life for a fund raising event to benefit the Casa del Herrero, in 2008.

Its nice to paint flowers. I view it is an artist's way of honoring and immortalizing their lightness- in their beauteous prime.

--Thoust wilt capture them before they wilt!

Ironically, in the end, their death was worth it.

Casa Dahlias
12x9 oil/board 2008

Private Collection

East Beach, Windy day. June 3, 2010

In the likes of Eugene Boudin, I painted this painting as a demonstration, for my Summer class 2007. The first day of class is always a challenge as there are sometimes up to forty students crowded around watching the demo, asking questions throughout the process.

My Thoughts during the painting:

I am stimulated mentally, physically, spiritually, and emotionally as I figuratively dance with a brush in my hand; coming up with answers to my students' questions. I try to remain focused, adhering to my original motif; hoping I don't screw up the painting.

Most of the time I am lucky to get a good start, but finishing is another story. That may take weeks, or years to do depending upon many variables. Every painting will hopefully find a home some day.

If I don't sell a painting, I look at it as an opportunity to improve it until it does sell. I paint and hope to sell, not paint to sell. This way I stay pure to my craft.

This painting did sell, eventually, and to whom I know not.

It's all about detachment, through and through.

East Beach, Windy Day
12x16 oil 2007

Private collection

Angels Flight. June 2, 2010

June Gloom has arrived here in Santa Barbara, and it seems like the entire day is Gray with no change in temperature; I might as well be living in Denmark!

As a pilot, I remember days when the clouds were so low I couldn't fly under Visual Flight Rules (VFR Conditions), however with the aid of an instructor I could get a 'special' to, "get on top" of the clouds to fly around. It always seemed like I'd arrived in heaven when I eventually broke through the cloud cover.

Twelve years ago, when I was in the midst of getting my Master's Degree in Art, the Moon was coming up full, and I needed to capture it, or try to anyway. But the clouds were low and in the way. Then I got the idea to try and drive up to E. Camino Cielo, (3000ft. agl) and paint the effect of moonlight above the clouds.

Up on the top of La Cumbre Peak, I set up to paint this painting. It took me almost four hours to complete, then another eight hours glazing it in my studio. During this time I was amazed to witness the thinning of the ocean of fog over the city of Goleta. As the fog would thin, the light would come bubbling up like a glowing soup in a cauldron.

With the Green underpainting tone of the canvas, and blues of the moonlight cast upon the clouds and mountains, it truly gave me the inspiration of what it may be like to be an angel; above the fray, free to play.

Angel's Flight
22"x44", oil/canvas 1998
Private Collection

www.thomasvanstein.net

Everything's Coming Up Roses. June 1, 2010

I tell my students: it's not what the rose looks like, it's what it smells like.

This gets them considering their subject in a multidimensional way, which, hopefully will translate on to canvas.

Warms and Cools juxtaposed will give greater vibration than complimentary colors adjacent to each other.

I am still trying to evoke an emotional response from my viewers. If I can do that, I know what I have expressed has been clearly communicated.

Summer Roses
11x14 oil/board 2010

Collection of the Artist