This photograph was taken on a blustery Labor Day that was sunny but chilly, suggesting that the final tendrils of summer were departing the mountains along with the weekend crowds. This is a photo of Dragon’s Back that is the basis of the oil painting of the same name. Greg Norby introduced me to this steep and forested hike that starts at the Twin Lakes Campground in the Mammoth Lakes Basin. The painting (as of this writing, the “Featured Painting”  on this site) was inspired by the emotion and motion of the day in bold color and active strokes. The abstract landscapes that I began painting early in 2010 evolve from simple snapshots of the Eastern Sierra landscape to broadly exhibit the joy and wonder with which we experience its vivid brilliance  moment by moment.

I recently returned from a week visit to Amsterdam. Though it was a business trip, I had the pleasure and privilege to spend time with Amsterdam-based friends, Gil Agnew and Rene Boitelle. Both are an inspiration in their accomplishments and outlook on life. Gil is the Managing Partner for New Innergy (www.newinnergy.com) and is hosting a series of personal growth and thought leadership salons in Amsterdam for like-minded community and business leaders. Rene is a Painting Conservator at the Van Gogh Museum and graciously provided us tours of the work of Vincent and his contemporaries who were painters of the same era in his community. This week in Amsterdam, Rene provided a tour of the Gauguin exhibition at the Van Gogh museum. Gauguin and others marked the beginning of the era of modern art starting with an exhibition at the Paris World’s fair in 1889. There was also an exhibit he recommended at the Hermitage Amsterdam showing work of the early 1900’s by the group of artists known as “The Fauves” including  Matisse, Picasso, Derain, Kandinsky and Van Dongen amassed by Russian collectors in the early 1900’s. These two different exhibitions of similar transitional eras in modern art in the same city were tremendously inspirational and exhilarating. These artists’ work have provided tremendous inspiration to my artwork and it was an indescribable treat to see these exhibitions. The artistic aspects of the trip were enhanced by lovely dinners parties enjoying friends and the city!

Art wall at Marco’s Restaurant, 8200 Santa Monica Blvd., West Hollywood, California. The opening took place on October 20, 2009. This exhibit featured two new works on the right hand side. One is The Opening, inspired by my Art Salon in June. Next to it is a tribute to Simbari’s Fiances, a favorite of many attendees. I am grateful for the support of Tad Dowell, Stylist and Playwright, and Marco, Restaurateur. The opening night was engaging and entertaining. Glad to have the support of my friends, art lovers and the community.

The week of November 30, I spent in Washington DC and visited The Phillip’s Collection on a Thursday evening jazz and wine night. I had visited this museum nearly twenty years ago, long before beginning oil painting, and always remembered it as a favorite amongst all that I have seen in the world. It was exciting to see that many of the works featured in one of my inspirational books on Impressionism are hanging in the Phillips. It was a magical evening to visit the art and to view the creations of Degas and Monet at eye level and close enough to touch in an elegant and casual cocktail reception with dessert and acoustic jazz.

Join students of Susan Manders for i-Candy, the annual student art show. Artist’s Reception – Saturday, November 15, 2008 – 5 PM to 8 PM. Meet Susan and the artists. Location: Susan Mander’s Art Experience. 11830 Ventura Blvd., Studio City. 818-506-7804. www.susanmanders.com

Not long after I began painting, I had the strong urge to paint people. Susan Manders, my teacher, suggested the best way to start painting people was to paint ten self portraits. Her advice was to consider these self portraits “studies” and not to be attached to the results. Susan suggested painting these in the privacy of my home and to avoid showing them to people. She said that the way that people would react could impact my freedom to paint these studies. Over the years, I have kept these self portraits but they are stored on a high shelf in a closet. Some of these early renditions of faces, my own face, are so cartoon-like that they are very amusing to see now in retrospect.