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    All images are Copyright Protected and the property of Jamie Williams Grossman. Paintings and photos displayed on this site may not be reprinted, copied, downloaded, displayed elsewhere, or used for any reason without her written permission.

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    "Just a quick note to let you know your [miniature] Monet arrived in perfect condition. It looks fabulous!!! Thank you again so much."




    ------------------------------------------ If you haven't seen the two-DVD set, "The Impressionists", you don't know what you're missing!

    the-impressionists.jpg


    I rented it from Netflix and absolutely loved it. It is an enactment of the lives of Monet, Renoir, Manet, Cezanne, Degas, and other Impressionist painters living at that time around Paris. Fascinating and eye-opening!





Archive for June, 2013

Waiting for the Supermoon

Posted by Jamie on June 27th, 2013

5×7″, oils on archival linen panel
$135.00 plus $12 shipping and insurance within the Continental United States. For local sales, shipping charge will be allocated to NYS Sales Tax. Please email me at JamieWG@aol.com for International purchases or with any questions.

Last weekend, my husband and I went to the lakeshore to photograph the “supermoon”. We had a wonderful time chatting with neighbors while waiting for the full moon to make its appearance. In the meantime, I pulled out my little pochade box and painted this 5×7″ sunset until the light had changed too much to continue with it. Then I pulled out my camera and tripod and got ready for The Main Event. It was quite spectacular. I will definitely be doing some paintings from the reference images I took!

Below is an image that you can click on for a larger view of what I was painting. By the time I finished my pre-Supermoon painting and took this photo, the light had pretty much gone out of the scene:

Click below to see a larger, clearer image of the painting alone:

Old Maple by the Creek

Posted by Jamie on June 26th, 2013


5×7″, Oils on linen panel
$135.00 plus $12 shipping and insurance within the Continental United States. For local sales, shipping charge will be allocated to NYS Sales Tax. Please email me at JamieWG@aol.com for International purchases or with any questions.

This wonderful old maple tree sits beside the creek in my yard, just downstream from the waterfall. That’s why I haven’t painted it until now! I always mean to paint this downstream view, but end up giving into the temptation to face in the opposite direction to paint the waterfall. In fact, there is so much painting potential from this one spot that I could probably do an entire show of paintings by just rotating a few degrees every couple of days and painting what lies in front of me.

Now that I’ve done this one, I’d like to do three more facing this way. One would be a larger version of this scene. A second would be this scene, but with a high horizon, so it could focus on the water reflections in the foreground and the transparency of the crystal clear pool there. A third would be a painting of a closer view of the tree trunk, in a vertical orientation. I’d best get busy!

Here is an image of the painting that you can click on for a slightly larger, clearer view:

Peach Sunset on the Hudson

Posted by Jamie on June 24th, 2013

11×15″, Acrylic on watercolor paper (140# Fabriano cold press)
$295.00 plus $15 shipping and insurance within the Continental United States. For local sales, shipping charge will be allocated to NYS Sales Tax. Please email me at JamieWG@aol.com for International purchases or with any questions.

Sunsets at Frederic Church’s Olana estate are always dramatic. Although the Hudson River overlook does not face due west from the top of the hill by the mansion, there is always wonderful color in the sky and spectacular views of the Catskill Mountains. Like Boscobel, it’s one of those Hudson Vistas that one never grows tired of! (I suppose Frederic Church didn’t tire of it either!)

Below is an image that you can click on for a larger, clearer view:

Some Paintings are Like That

Posted by Jamie on June 21st, 2013

20×14, Acrylic on Arches Rough 140# watercolor paper
Price unknown, since it’s still not finished!

Some paintings almost paint themselves. They are Gift Paintings. If several of those happen in a row, you may even start to feel like you’re getting a grip on this “painting” thing. The painting above is not one of those.

Most paintings present enough challenges to me to not fall into the Gift Painting category. They are satisfying puzzles to solve, that leave me hungry for the next challenge. This painting is not one of those either.

Then there are the paintings that totally humble us. Now we’re talking about this painting! They are also tremendous growth opportunities. Whether they end up in frames or not, they become their own reward through their ability to teach us something new, and it doesn’t come easily!

This painting began one recent afternoon at Manitoga in Garrison, where I sat at the base of this massive waterfall. I have painted more waterfalls than I can count, but I didn’t count on the number of challenges this particular one would present. This series of cascades is is more like 100 waterfalls than one waterfall, and I have never painted 100 waterfalls in a single painting. Plus:
1. I had already done a painting in the morning;
2. It was hot out;
3. I was short on time;
4. I had a broken toe to contend with;
5. There were massive numbers of biting Black Flies. (Two days later, I counted 72 black fly bites on my arms and legs!)

So, why did I take on such a complex scene that afternoon? I have no idea. Not only did I take on a complex scene in a short time frame, but I had to go and do it 20 inches tall! What was I thinking?

I did what I could on location, shot a couple of reference images, and figured it would go in the large Unfinished pile at home, many of which never again see the light of day. But this one kept beckoning to me. It’s on a watercolor block, so I can’t use the rest of the block until I finish the darn thing! I pulled it out one day and decided some areas needed to be totally repainted, and some shadow areas better unified. I took out a container of white Gesso, and painted over the shadow areas that were bothering me. That way, I could rework them with transparent color, and better unify the shadow sections that I didn’t like. I put the painting away for the gesso to dry, and that was that.

Until today! It beckoned me again. I reworked some of the shadow areas, better defined some of the rocks, got some forms to turn, and resolved what I was going to do with the bottom section of the painting, even if I didn’t wrap it up yet. My daughter thinks it’s coming along, so that gives me hope. I’m thinking one more day just might do it for this one. Or not. Here’s where it stands now:

This is a battle I’d really like to win. While painting, I think about ways I could have approached this subject differently. Perhaps with a different game plan, I could have gotten to this point much sooner, without so many detours and reroutings. These paintings that make us think outside of the box, and force us to look at our subjects or techniques in a different manner, are the best learning opportunities and experiences that we have. This one may never go into a frame. It might be one of those paintings that I pull out every couple of months or years, and work with a bit more, to see what I can gain from the experience, and learn what the painting can teach me about the process.

I have paintings that have been in that pile of unfinished works for years. Every so often, I pull one out and I’m able to do what the painting needs right away. That tells me how far I’ve come, while some of the others in the pile remain an enigma, and tell me how far I have to go. I continue to let them teach me as I try to solve their mysteries. I think it’s a good idea to always keep a pile of mysteries in the studio.

Firey Sunset Over the Hudson and some glazing tips

Posted by Jamie on June 20th, 2013


5×7″, acrylic on archival rag board
SOLD! Please email me at JamieWG@aol.com to inquire about a similar painting.

This was painted 99% on location at Olana, the estate of Hudson River School artist Frederic Church. Often after plein air painting, I get the painting home, and when I see it with indoor lighting, there is something that needs adjusting. Initially, the yellows in this painting were too cool compared to what the painting and scene looked like on location. It needed a glaze of warmer color. The image below is what it looked like when I brought it home. It looks a little anemic, don’t you think?

Glazes are quick to do, but can be tricky. Because acrylics dry so fast and cannot be removed when dry, laying on too much color while working transparently can suck all the light out of a painting. To be certain that I laid down the right color in the proportions I needed, I first covered the painting with clear plastic food wrap, and set it on the easel. With a mixture of Acrylic Glazing Liquid and transparent color, I tested the glaze color and result on top of the plastic-covered painting. If I wasn’t happy, I wiped it off and tried a different proportion or mix, until I got it looking the way I wanted while it was covered in the plastic wrap (click to enlarge):

Then I removed the plastic wrap from the painting, and set it against a white surface. This gave me a guideline of color and proportion of paint to glazing liquid, in order to achieve my desired result. It always surprises me how little color is needed when I see the glaze I used against a white surface! This is all that was needed to glaze this particular painting, so you can see how easy it would be to mix in way too much color (click to enlarge):

I then mixed the color and glazing liquid on a white paper palette to match the color on the plastic wrap, and painted it over the surface of the actual painting. It’s a pretty foolproof way to get exactly what you want! All that was left to do was to sign my name. Testing the glaze layer this way does take a few extra minutes, but it is well worth it in the end. It enables me to test many different options before making a commitment.

Acrylics have some truly wonderful properties, and definite advantages over oil paints. If I want to glaze an oil painting, I have to wait until the paint is quite dry. That’s a long time compared with the nearly instant glazing capability of acrylics. Plus, each additional layer of oil glaze is problematic. Oil painting mediums can darken, yellow and crack over time. The more oil and resin enter the paint film, the worse it is for the painting. One only needs to stroll through a museum to see first-hand how true that is. Restoration is expensive, and most private buyers don’t have a huge art conservation budget!

Acrylics, on the other hand, can be glazed forever with no compromise to the paint film. The acrylic medium is flexible and archival, and will not yellow, darken, nor crack over time. That means that if I decide to darken or intensify a glaze, I can always add another layer.

Here is an image of the finished painting that you can click on for a slightly larger, clearer view:

9×12″, oil on archival linen panel, unframed
$500.00 plus $20 shipping and insurance within the Continental United States. For local sales, shipping charge will be allocated to NYS Sales Tax. Please email me at JamieWG@aol.com for International purchases or with any questions.

I few weeks ago I spent a glorious day painting with friends at Bear Mountain, overlooking magnificent views of the Hudson River. This vista to the south featured Iona Island, warm and cool color shifts in the water, and atmospheric distance effects. I want to go back again, and again!

Below is an image you can click on to get a larger, clearer view of the painting:

The Studio Door

Posted by Jamie on June 18th, 2013


12×16″, Acrylic on archival canvas panel (hardboard)
$295.00 plus $30 shipping and insurance within the Continental United States. For local sales, shipping charge will be allocated to NYS Sales Tax. Please email me at JamieWG@aol.com for International purchases or with any questions.

One afternoon, I was walking toward my studio door when I was struck by the light shimmering on the lawn and doorway, with the surroundings in shadow. I thought it would make an interesting value study, so I returned to the spot the next day with my Golden Neutral Gray acrylics. (As I’ve explained and showed previously, these are already premixed, so they make it very convenient to do the value studies that we all know we should be doing!)

I had a tough time getting the values to show correctly in the photograph. It’s ever so much easier to adjust the highlights and shadows in a photo than it is to do midtone adjustments. It looks so much better in person! In any case, I’m quite happy with the way the actual painting turned out. I am trying to use all my willpower to leave it as it is and not glaze it with color! Perhaps I will also do a color version in the future, and definitely there will be more monochrome paintings coming too.

Below is an image you can click on to get a larger, sharper view:

Mossy Falls in Pastel

Posted by Jamie on June 16th, 2013

15×11″, pastel on Rives BFK rag paper
$295.00 plus $20 shipping and insurance within the Continental United States. For local sales, shipping charge will be allocated to NYS Sales Tax. Please email me at JamieWG@aol.com for International purchases or with any questions.

I posted a photo of this scene the other day with the waterfall in progress. I keep thinking it’s done, and then end up reworking sections of it. Maybe it is done now, but if not, you’ll see it posted again with revisions!

It sure does seem like “Waterfall Week” here on my blog. Actually, only two of the ones I’ve posted this week were done this week. For some reason, the others just didn’t make it up on my website until this week. However, it is true that I never seem to tire of the challenge of painting waterfalls. We’ve had tons of rain this week, and they are predicting a lot more over the next couple of days, so I think it’d be a safe bet that more waterfall paintings will be coming off my brushes in the near future!

Beating the Heat at Old Mills Falls

Posted by Jamie on June 15th, 2013

8×6″, Oils on linen panel
SOLD! Please email me at JamieWG@aol.com to inquire about a similar painting.

Tucked away in the woods, behind an old red cabin in the heart of Platte Clove, is a serene waterfall with a beautiful pool at the base. It’s the perfect place to beat the heat with paintbrushes in hand on a hot summer day!

Waterfall in Greens and Pinks

Posted by Jamie on June 13th, 2013

7×5″, oils on linen panel
$135.00 plus $15 shipping and insurance within the Continental United States. For local sales, shipping charge will be allocated to NYS Sales Tax. Please email me at JamieWG@aol.com for International purchases or with any questions.

I’d posted an image of this painting with the scene quite awhile ago, promising to eventually get up an image of just the painting. Here it is! It’s been on my drying rails and is now ready to varnish and go off to a new home! I love those early spring colors. I appreciate it that much more, now that the summer greens have overtaken the landscape!

Kaaterskill Falls in Watercolor

Posted by Jamie on June 12th, 2013

Watercolor on Rives BFK rag paper
16×12″ includes custom ivory mat and backing board for standard frame, image size is 11×7″
SOLD! Please email me at JamieWG@aol.com to inquire about a similar painting.

Kaaterskill Falls, the tallest waterfall in New York State, is one of my favorite spots to paint. It was one of the favorite spots for the Hudson River School painters as well. It’s not easy to get to the base of the falls with painting gear. Sometimes the hardest part is getting a parking space, but even if you do, it’s about a quarter mile from the lot and then about a half mile climbing up the mountainside. Without gear it’s not a hard climb, but you don’t want to do this one loaded down with equipment!

This one was done on location last summer, but for some unknown reason, it never got posted. I think I just never got it up before the camera to take the picture, so here it is at long last! Please note that this painting comes already custom-matted and with an archival backing board, so all you’ll have to do is pick out a standard 12×16″ frame for it and it’s ready to hang.

Artists Nest Falls in Monochrome

Posted by Jamie on June 11th, 2013

8×10″, Acrylic on archival canvas panel
$175.00 plus $15 shipping and insurance within the Continental United States. For local sales, shipping charge will be allocated to NYS Sales Tax. Please email me at JamieWG@aol.com for International purchases or with any questions.

Every so often, I really enjoy working in monochrome. Often that means sketching in sepia tones, or painting with a specific color base. But I also really like working in grays. Golden Acrylics makes that easy to do with their Heavy Body Neutral Gray series. I keep them loaded in this sealed container with dividers. Any time I want to work in black and white, I just grab the container and I’m good to go.

Here’s an image of my painting in progress at the scene. )This image should be clickable if you want to enlarge it.)

Even though these are traditional, fast-drying acrylics, I was amazed by how much working time I had with them while sitting by rushing water! The air must have been heavily laden with mist, because I could blend and blend to my heart’s content. It was like working with oils. I generally keep one of those sections in the container for Acrylic Glazing Liquid, which extends drying time, but I didn’t need to dip into it.

One of the best things about working this way out in the field is that I don’t need a palette! With all the values premixed, and no color mixing to do, I can dip right into whatever value I need as I go. Generally I’ve done these as studies in my sketchbook, but I absolutely loved doing them on panels, so you can expect to see lots more monochrome paintings on archival surfaces coming off my brushes. It’s the complement to my Color Inspirations series!

If you’d like to see a slightly larger view of the painting, here’s a clickable image of the painting:

Work in Progress by the Waterfall

Posted by Jamie on June 9th, 2013

15×11, Pastel on Rives BFK Tan
Email me at JamieWG@aol.com if interested in this painting.

I started a large painting on paper, and while waiting for my first layer to dry, I decided to do a monochrome sketch using some Cretacolor Sepia Powder. This just arrived with my last art supply order. It looked like lots of fun and I couldn’t wait to give it a try! I started laying in tone by brushing the powder onto the surface of a pristine sheet of beautiful Rives BFK — a 100% cotton rag paper that is one of my favorite toned surfaces. It wasn’t long before I needed to work in some lights, and realized that I didn’t have a white Conte in my sketch box with the powder! Uh oh!

I remembered that I had some pastels in my car, so I figured I’d take the white from that pastel kit. Well, you know me — the color junkie! With all those gorgeous pastels in front of me, there was no way I was going to resist adding some splashes of color, and then some more. Before I knew it, I was way engrossed in creating a pastel painting instead of the monochrome sketch I’d intended as a time-filler while my other painting dried! I wasn’t all that happy with the way the other one was turning out, so I persevered for awhile with this one and really liked where it headed. I went back this morning and tweaked it a bit to finish it off. I’ll post that image as soon as I can get a photo of it.

As for the other painting, it only went from bad to worse. I went back at it again today, but couldn’t save the beast! Plein air painting can be a very humbling experience. However, I’m pleased with this one. I never would have thought to use Rives BFK for pastels, and I hadn’t initially intended to do this as a pastel piece. It turned out to be a pretty awesome pastel surface. I might even do it again on purpose sometime!

Occasionally, a painting or a sketch will go in unexpected directions due to unforeseen circumstances. When that happens, it can be disastrous. But sometimes, when we get lemons, we can make lemonade. I’m really glad that I let this become a pastel painting instead of a monochrome sketch. (And to make up for that, I did monochrome work in the afternoon.)

Looking Over the Bear Mountain Bridge

Posted by Jamie on June 8th, 2013

5×7″, oil on oil primed linen panel
SOLD! Please email me at JamieWG@aol.com to inquire about a similar painting.

This vista of the Hudson River from Bear Mountain is spectacular. I had one of those days of perfect spring weather to paint outside — not too cold, not too hot, not too windy, and shade! What more could a painter ask for?

It seems that everywhere I look lately, I’m stepping on or looking at the Appalachian Trail. Although I wasn’t thinking about it when up atop Bear Mountain painting this scene, the Appalachian Trail goes right across this very bridge over the Hudson River. I can’t even imagine the thrill that it must give to all those weary hikers to arrive at this spot and be walking across the Hudson at the entrance to the Hudson Highlands. Surely it must be one of the highlights of the entire trail. Through this section of the River, dramatic mountains rise up on either side, with bends and twists of the Hudson around the steep banks. The Highlands section runs from this area between Bear Mountain and Anthony’s Nose, up to Breakneck Ridge and Storm King to the north. This southern portion of the Hudson Highlands is quite a haul for me by car, so I don’t get down this way nearly often enough.

I broke my toe a few weeks ago, and spent the entire morning standing up and painting. By the afternoon I was sore, and took the easy way out. I sat in the shade of my big umbrella, painting comfortably with my little 5×7″ Guerrilla pochade box on my lap, and a Diet Coke by my side. Perfect!

The Great Swamp in Rusts and Golds

Posted by Jamie on June 6th, 2013

16×12″ with custom ivory mat and acid free backing board to fit a standard 12×16″ frame. (Painting size is 11×7″.)
Acrylic on Arches paper
$250.00 plus $15 shipping and insurance within the Continental United States. For local sales, shipping charge will be allocated to NYS Sales Tax. Please email me at JamieWG@aol.com for International purchases or with any questions.

This painting of a scene along the Appalachian Trail is the fourth in my Color Inspirations series. It was painted from the same reference image as the one I posted yesterday, where the Appalachian Trail goes through the Great Swamp, but with a different selection of colors. This painting has great transparency, which is what gives the sky such a luminous glow. I made sure to use transparent pigments that would maximize the effect. We don’t always end up with exactly what we were hoping for, but for me, this one did give me the effect I was after!

This paper is Arches 90# rough. The wonderful watercolor artist, David Taylor, told me that it’s a paper he likes to use from time to time, so I thought I’d give it a try. It’s not one I’d have thought to use because of its lighter weight. It certainly does need to be taped down while painting to avoid buckling, and actually, the first batch of it that I ordered was buckled when it arrived at my doorstep. Thank goodness Dick Blick is such a reputable retailer, and they replaced all the paper right away. I’m enjoying the responsiveness of this lighter paper, and can see why David finds it appealing.

Great Swamp with a Golden Sky

Posted by Jamie on June 5th, 2013

8×10″ with ivory and gold mat included to fit a standard 8×10 frame. (Painting size is 5.5×8″.)
Acrylic on rough watercolor paper
$130.00 plus $15 shipping and insurance within the Continental United States. For local sales, shipping charge will be allocated to NYS Sales Tax. Please email me at JamieWG@aol.com for International purchases or with any questions.

I’ve been working on some color-inspired paintings lately, and this is the third of my Color Inspirations series. This scene from the Great Swamp lent itself to a golden sky, bringing out the colors of the marsh grasses and warming up the scene. My goal with this series is not so much to portray a specific place as to create a special drama or mood, using inspiration from the scene before me and a color palette that I feel complements the scenery. The tonal values at the location become more important than the actual colors. In this case, the trees contrasted strongly with the other elements in the scene. For that reason, I felt it was an ideal composition of tonal values, while shifting the color imaginatively. I think I’ll be doing several from this reference, exploring different color possibilities.

This also happens to be another scene along the Appalachian Trail in Pawling, New York. It is close to where the trail crosses Route 22. I seem to find a lot of inspiration along the AT these days.

I am doing these Color Inspiration paintings in assorted media. This one is acrylic on paper. I will mat it like a watercolor, but the versatility of acrylic also enables me to varnish and frame them like oil paintings. Very cool!

Marsh Channels on the Hudson River

Posted by Jamie on June 4th, 2013


Click image for a much larger, clearer view
14×20″, Acrylic on Arches watercolor paper
$395.00 plus $25 shipping and insurance within the Continental United States. For local sales, shipping charge will be allocated to NYS Sales Tax. Please email me at JamieWG@aol.com for International purchases or with any questions.

This medium-size painting was done on location at Boscobel Restoration, overlooking Constitution Marsh along the bluff above the Hudson River. I’ve painted this scene so many times, so I opted for something different this time around and pulled out some Golden Airbrush paints. I used them with traditional brushes rather than an airbrush, and let the colors spatter and run, the way I love to do with watercolors. It has a wonderful transparent glow, which is exactly the effect I was after. I think I want to do more of these!

In case you’re having a “deja vu” moment, yes, I did post this painting a couple of weeks ago! My intention was to possibly work on it a bit more. I decided to go ahead and do that, so now I’m reposting it as a definitely finished piece, which is a little more refined than it was before, and I’ve deleted my previous version of the painting.

Hiking the Appalachian Trail

Posted by Jamie on June 3rd, 2013


16×12″, Acrylic on Arches board
SOLD! Please email me at JamieWG@aol.com to inquire about a similar painting.

Usually when there is water to be found at a location, it becomes at least a small portion of my painting. But in this case, I was mesmerized by the beautiful light in the distance filtering through the trees, and the splotches it created along the trail. This section of the Appalachian Trail is in Pawling, New York, about a quarter mile southwest of the intersection with Route 22.

I used Golden Airbrush acrylic for most of this painting in order to make the most of the transparent glow in the distance. Nothing quite captures that effect like transparent paint on a white support!

Most of my early spring work, including this one, has already been claimed by RiverWinds Gallery in Beacon, NY. You’ll be able to see this painting and more at RiverWinds starting the Second Saturday in July. The painting can be purchased at the gallery, here through my website, or by calling RiverWinds during their regular business hours.

Spring Burst

Posted by Jamie on June 2nd, 2013

15×11″, custom matted (ivory mat) to 20×16
Acrylic on rag paper

$400.00 plus $35 shipping and insurance within the Continental United States. For local sales, shipping charge will be allocated to NYS Sales Tax. Please email me at JamieWG@aol.com for International purchases or with any questions.

This was painted in The Great Swamp, which runs through Putnam and Dutchess Counties. I painted it on location in Pawling, New York, beside the Appalachian Trail. It was one of those times when I really felt like exploring the possibilities of acrylic paint with drips and spatters, which seemed quite appropriate as spring was bursting all around me in scattered leaf forms and brilliant yellow-greens.

I did this on watercolor paper to take advantage of the color blending capabilities in the initial stages. I also happen to love acrylic on paper more than anything else. There is something about water media that just adores paper supports. The advantage using acrylic on paper is that it can still be varnished and framed without glass just like an oil painting or an acrylic on canvas. In this case though, I really liked the look of the painting with the mat surrounding it to give it some breathing room, so it is being matted to 20×16″ and framed with glass and a beautiful gold wood frame to bring out the sparkle of spring. Acrylic is the most archival material out there, so I love working in this versatile medium that I know will last for generations to come.