Drawing challenge in March leading to color and Paintings in April

These are quick sketches from pigeons watching us at Mo's Restaurant in Newport and the fish were in aquariums at the Hatfield Marine Center.

A Crab to take Home

This painting hangs in the stairwell leading up to the dormitory at the Oregon Hatchery Research Center.

Shivering Daffodils

I am keeping my eyes open for inspiration. This morning brought a snow shower and the daffodils hung their heads as a snowy wedding veil covered their too early to bloom petals. In past years I noticed daffodils blooming in March always were followed by snow. It isn't even March yet. I must paint this one.

Memory of Water Falls from Heavy Rains

This painting was begun in 2002 after a walk in the rain at McDonald's Forest near Corvallis, Oregon, It is acrylic on canvas, 4' 8" x 3'.

Liquid Energy

"Liquid Energy", acrylic 3 1/2 feet x 5 feet. Begun in 1997, with adjustments in 2003 and the past few days. It makes me feel better now.

Crooked River

Crooked River, Eastern Oregon, Acrylic, 48" x 24" Hangs in the stairwell leading to the dormitory at Oregon Hatchery Research Center. This is one I used to think was finished but I thought it would be better if I put a wash over some of the river in the foreground. So often touch ups like this kill the energy in the painting but this one is exceptional.

Painting inspiration going with the flow

Coit Tower Mural, San Francisco

I was going to throw a dice to start doing new work. Maybe it would land on planning a mural type painting for one of my large canvases;doing ink drawings of kitchen utensils or a watercolor of yarn balls symbolizing women's creativity; abstract paper carving and collage, painting outdoors in the mist, changing my slide show, "Could Fish Hooks be the Most Important Invention Ever?" so it can be enjoyed without me moderating it in person. Couldn't find a dice! So I flipped a coin - heads ink drawing and tales watercolor. Heads won. Couldn't find my new pen points so I used a rusted one and tried to go over pencil lines from the elk I sketched last week near Reedsport. That lasted about five minutes and I started cleaning my studio table top. Then I worked on my slide show.

Inspirational motivation VS. critical appraisal and Dr. Watson's plan

Sea Bass that Don caught the other day.

For some weeks I have been critical of maybe over a thousand of my past works. I identified some gems from the mass that just didn't have enough cut. I put the incomplete work in recyclable piles. Maybe a few changes would save them. Experience, however, shows my best work is in the immediate here and now. Small changes to works that have been around for some time usually kills the energy and life of the painting. After being in the critical mode, I am having trouble switching to inspired energetic painting.

I accept my difficulty of going back into painting while being concerned of how I am expanding with more paintings. Commencing painting again requires confidence. Making more, however, will be problematic ten years from now when I might want to live in smaller quarters. Ultimately my children will have to deal with too much of my work if I haven't found a place for it. I could dwell on the fact that I have not found a market and I don't want to be a slave to the marketplace.

Years ago a psychologist Dr. Watson suggested putting a cap on the amount of works I could make and keep. For him one painting was all he needed to feel he was an artist. Actually my benefits from making art is more than ego but a way of life. I ignored the Watson plan for years so now I am going to go to greater lengths to be a responsible family member. I am not only going to limit my work in numbers but I am going to reduce my inventory.

I have gone ahead for 25 years with confidence that my paintings will be found. Every new piece was begun with confidence that I would be able to store it somewhere. I had in 2010, however, reached the point where I was spending more time moving paintings from pile to pile than actually working.

I am going to continue painting but with a plan of reduction. Every year for eight years I will paint big ones starting at 3 feet by 5 feet using the supports I already have. Canvases will be removed for the purpose of becoming table coverings or rugs. But every year I will make sure I reduce the number of large painting supports by two. So when I am mid way through my 80's I will have only one large painting left.

Now that my plan is set, it is difficult to get into painting again, because I am in the severely critical mode. What will I do?

I have noticed interesting sunsets and clouds yesterday. We might go to the beach. I have made some tinted watercolor papers and have 17 empty tinted canvases. Also some ink, pens and new drawing pads. I'll start by rolling a dice to select which direction. The important thing in inspiration is not wait but get started then the inspiration comes.

The High of an Art Reception Coupled with Humbling Studio Management

In one painting of a thousand or so unfinished ones I poured rehydrated Bengal Rose gouache. It powdered and pealed. Then I put semi gloss, UV, satin varnish on it. The paint became brittle and pealed more. I like the pealing but it is so fragile, I am not sure I can save it. Today I adhered the 300 pound cotton rag paper to a museum board and flooded the pealing areas with Liquitex gloss varnish and medium.
An important reason for this show is empty our house so I could go through my work and separate what is important to me from the works that fall short. And there are many unfinished or do not rise my pulse. I framed works selected by my daughters and prepared 17 large surfaces for oil or acrylics.
For years I have not been so critical of my own work. Every day more and more goes in the recyclable pile. Tomorrow I hope to start working from the immediate here and now instead of trying to save an old work.

Sunday my retrospective reception talk and tour was attended by loving family and good friends. The theme of paintings was paintings while my husband fishes the past 46 years of the 50 years represented. My 9 slide show brought some good suggestions as to whether or not fish hooks were the most basic invention upon which all others stem. To cover their ideas, I am adding four more slides from our trip to South America.

"Clamming at Newport, Oregon" Gouache Painting

Problems with hydrating broken tubes of watercolors and gouache

"Bengal Rose Painting" with a freshly applied UV protective, satin varnish poured over powdered and flaking paint. Also note that the picture has been switched from landscape to portrait. I'll eventually collage the bottom to the top.

The joys of painting on the floor by my warm wood stove came to an end when my husband reported Bengal Rose color on the bottom of his socks. I thought I had scrubbed up all the spills by the fireplace and that solved the problem. But last night the paint powdered and fell off the painting behind his dinner chair.

My reclaiming watercolor project is removed from our living area and is now in the shop studio.

Moving forward after thousands of paintings

Knitting Needle and Crochet Hook Orbs, watercolor on paper 30" x 22"

This is a time of reflection while I put together a show of 50 years of my paintings. After selecting just 40 from the ones in my collection and from borrowing some, the house is still just as crowded. My husband and I are stretching canvases to paint and then I have put a tinted coat of gesso to make a nice ground for the paintings.

I have new and gessoed over canvases in the shop studio and two piles to paint in the house studio. The sorting shelves of paper work has a shelf of recyclables. Interesting I thought I was going to make papers for collage and ended up modifying old paintings giving them some new life. A dozen have made it to keeper shelves.

Fast Drying, Juicy Watercolors Painted by the Wood Stove

Salvaging is a freeing experience. First I selected several hundred watercolors that are not special to me. Some are very old and good paintings but just not that great. I am painting either on the back or on top of bright color. I salvage all the paint from a tube, meaning I feel free to use large amounts of color. The fireplace is very warm and dries the puddles of paint with amazing speed.

Dried, painted papers are hung on the bulletin board. I am considering these for further layers, collages, or maybe as finished work.

Exhibiting on 2nd Floor Albany Public Library 50 years of painting fisheries

Albany Public Library is a newly remodeled insurance building at 2450 14th Avenue SE. The exhibit can be viewed during open hours. Monday - Wednesday 10:00 AM to 6:00PM, Thursday - Friday 10:00 AM to 5:00 PM, Saturday 10:00 AM to 5:00PM, Sunday 1:00 PM -5:00 PM. The second floor exhibit titled "The Rest of the Story" will be up through February.

A 15 % commission goes to the Friends of the Albany Public Library.

"Alsea Ripples" is donated to Oregon Hatchery and Research Center and will hang upstairs in the dormitory dining area.

Children's experience oriented watercolor class with environmental values

Monday, January 3rd, 23 children accompanied by a parent were eager students at a free watercolor class at the Albany Public Library. The supplies were mostly from recycled artist quality cotton rag paper. Some papers went through a long hot bath and bleaching with an additional coat of absorbent ground for watercolor. Substituting for commercial pan watercolor sets were small chunks of watercolor crayons left over from years of use with my grand children and my mother who suffered from dementia. The pealed crayons were inserted into molded plastic packaging salvaged from thumb tacks. Small lids served as water containers. Brushes were my own. In addition, I purchased 10 Camelia student pan watercolor sets with brushes from India. These sets had four larger wells perfect to fill from squirting until filled using only a small water sprayer. The small amount of water available made for paintings with brighter more saturated color and no waste water. The students used up all the water and were given seconds and thirds of water.

Cookie cutters of all subjects from mittens to animals and trees provided ideas for subjects and kept the shapes, cartoon-like, big and open. The children were creative in filling them. All selected painting the inside first. When these were ready to dry before doing the background, we gathered around the mystery table where I provided the solution to what things I carried with me on a watercolor plein-air trip. The kids checked to see if the letters they wrote down corresponded with the palette, pens, painters, and clothes I had. The use of pens and pencils were helpful in making creative decisions on how they wanted to finish their work.
Not all of the children followed my directions and for the most part that worked out fine. The small cakes of the Camelia set are perfect for small fingers and delighted one of the youngest boys who wanted to know if he could make thumb prints. Of course the set worked perfectly and he was absorbed in his painting for more than half an hour. When it was time to end class he was still making prints and he said he just loved finger printing. I was rewarded by having several examples of creative inventers of the materials that I could share with the others instead of always being the one governing what the children make. For the most part all had a good time, but there was one child who would not accept any suggestions, could not focus and became very upset when the too big watercolor brush did not provide a good enough point to paint the stripes on an American flag. The tantrum that followed was to wrinkle up the paper and throw it in the garbage. If I had taken steps to redirect this easily frustrated student, I may not have any different outcome. There are some who come to class bent on proving they are not good at art. It is curious to me that I have had an adult a few years back who painted the flag and was equally demonstrative. After class I retrieved the drawing. I am keeping it for a collage. Or save it as is: it is very good on its own merit.

Diane Widler Wenzel bio updated

Welcome to my blog journal. Over the years it has been a gift. Publishing for free. What a lark it has been. Over the years new improvements by Blogger and the arrival of Facebook gives me new ideas on what to do in the future. I am very appreciative of your comments. Thank you.

It is appropriate for new readers to start with my bio. It is time for me to think of where I have been and where I will be going next year with my art work.

Education
1966 – present 5,000 + paintings

1966 Bachelor of Science Degree with high honors in drawing and painting,
Portland State College, Portland, Oregon : studied under Frederic Heidel

Solo Exhibitions

2010 "Fish Story, 46 years painting whild my husband fishes," Albany Public Library
2008 “Hidden Dragons,” Sam’s Station, Corvallis
“Dragons Boogie Woogie,” Enid Joy Mount Gallery, Keizer Art Association
2005 “ A Vase of a Hundred Flowers” Pegasus Art Gallery, Corvallis
2003 “Trip to Tibet” Albany City Hall
2001 “Personal Symbols,” Footwise Window, Corvallis
2000 “Alaska Watercolors,” Boccherini’s Coffee Shop, Albany
“Robinson House Series,” Footwise Window, Corvallis
1999 “Watercolors,” Albany City Hall
“Waves in Abstract,” Sylvia Beach Hotel, Newport, Oregon
1998 “Water Impressions,” Illustrated Garden Gallery, Corvallis
“Watercolors and Acrylics,” New Morning Bakery, Corvallis
1993 Good Samaritan Hospital, Corvallis
Arts and Letters Gallery, Albany
1986 Two Rivers Market, Albany
1978 The Nut Loft, Aloha
My Studio, Clover Bldg., Bellingham
1969 Interactive Painting with Installation, Magnolia Gallery, Bellingham
Parlor Gallery, Portland, Oregon
1968 Hamman's Gallery, Bellingham, Washington
1967 Courtyard Gallery, Illahe Hills Country Club, Salem
Lake Oswego and Beaverton Public Libraries
La Points Department Store, Salem
1966 The Loft Theater Gallery, Tucson, Arizona

Group Exhibitions
Museum, College, Juried and Invitational Exhibits

2007 acrylic paintings, “Four Women Seven Years Later”
Benton County Historical Museum, Philomath, Oregon

“Feathers, Fins and Fire,” a group of three painters
La Selles Stewart Center, Oregon State University Corvallis, Oregon

1999 13 watercolors and acrylics,
“Four Women Artists Celebrating the Seasons of Life,”
Benton County Historical Museum



Group Exhibitions
Museums, College, Juried and Invitational Exhibits
2000
1998 2 watercolors, “Historic Bridges of Oregon,” BCHM

Illustrated Garden Gallery exhibits at Lasells Stewart Center, OSU, and
Majestic Theater, Corvallis

1997 2 oil paintings, “Art in the Family,” Linn Benton
Community College (LBCC)

1995-2000 Four shows, Art About Agriculture, OSU

1993 2 watercolors, “Poppies,” Oregon State Memorial Union

1990 – 93 Shubert’s Gallery, Albany

1990 2 watercolors, Faculty Exhibit, LBCC

Painted fabric book and airbrush paintings in
accordion binding, Book Arts Show, LBCC


1986-89 Artist books in 4 Books, Books, Books,
Marylhurst College, Lake Oswego, Oregon

1972 Oil painting, juried exhibition, Whatcom County
Historical Museum, Bellingham

1968-82 Oil paintings in 5 invitationals,
Western Washington College, Bellingham

1962-65 Annual Student Exhibit, Portland State College, Portland

Group Exhibitions
Other Juried Exhibits
1991 – 2000 Watercolor Society of Oregon, six exhibits

1998 - 1999 Tulip Festival, Wilsonville Art Center

1993 Art Guild, juried exhibit, Corvallis Art Center

1967 “Organ Pipe Cactus, Inner Landscape” oil painting in
Oregon State Mobile Traveling Art Exhibit



Galleries and Alternative Spaces

2000 “Collaborative Painting with 90 Year Old Mother,”
Albany Public Library

“Trees,” Vistas and Vineyards En Plein Air,
Footwise Window, Corvallis

1999 Wild Rose Gallery, Philomath

1996-present Earth Works Gallery, Yachats and Lincoln City

1993–present Corvallis Art Center’s Corrine Woodman Gallery and numerous other Corvallis
Art Guild Show Places

Arts and Letters Gallery group exhibits, Albany

1993-95 Coffee Contada, Forest Grove, Oregon

1975 Blue Horse Gallery, Bellingham, Washington

Gail Chase Gallery, Bellvue, WA

1969 Sky Light Gallery, Port Angeles, WA

1967-69 Gallery 217, Bellingham, WA

1966 Atrium Gallery, Canby, Oregon
Long Alley Gallery, Lake Oswego, Oregon


Awards, Honors, Commissions
2001 4th place award, Watercolor Society of Oregon
2002 Purchase prize, Art About Agriculture, Oregon State University (OSU)

1999 Jay Clemens Juror’s Choice Purchase Award, Art About Agriculture Exhibit, OSU

1998 Best of show and first place prize, Vistas and Vineyards, Philomath, Oregon

1998 2nd place award, WSO Exhibition

1997 Best of Show, Accordion Journal, “A Day on the Mountain,” Friends of Iron Mt.

1995 4th place award, WSO Exhibition
Kaseberg purchase award, Art About Agriculture

1994 5th place award, WSO Exhibition
1985 Best of Show and People’s Choice, Annual Semiahmoo
Drawing Exhibition, Whatcom County Park, Washington

1984 Commission, “Church Lake II,” (oil) for Barbara Hanson

1969 - 83 Two Honorable Mentions at Fibers Unlimited Exhibit,
Whatcom County Historical Museum, Bellingham, WA.
Commission, Sunshine Printing, Bellingham, WA.

1973 Best of Show, “Aquarius Abstract,” acrylic, Sky Water Festival, Blaine, WA

1971 Best of Show, Oswego Art Festival, juror Percy Manser

1967 Best of Show, and people's choice, Bellingham Art Guild Blossom Time
Festival, WA.

1968 Commission, “Humbug Creek II,” (oil), Barbara Hanson
Commission abstract 6’ x 3’ oil for Marian Grant

1966-67 Best of the show, Oregon State Fair for two years
jurors Nelson Sandgren and Louis Bunce

1966 Best painting award and blue ribbons on three entries
Miss Washington Pageant, juror Donald Jenkins

1966 Scholarship from Lake Oswego Art Guild, Oregon

2 Commissions, 6’ x 3’, (abstract oils), Frank Myers

1961-65 Numerous ribbons, State and Multnomah County Fairs

1961 3 Commissions, watercolors, Dr. Eland, Portland, OR.

1960 Honorable mention for a figure drawing, Gold Key Scholastic Art Awards,
Richard Prasch, juror

1957 – 1960 Participant in Gold Key Scholastic Art Awards

Related Employment and Volunteer Work
1999–present Commissioned to curate Albany Democrat-herald reception area art wall

2001 Theme Show Chair for Vistas and Vineyards

1999-00 Education Chairperson, Watercolor Society of Oregon

1997-99 Artist in Camp, 3 river runs, Cooley River Expeditions, Oregon and Idaho

1998 Volunteer receptionist, Illustrated Garden Gallery, Corvallis, Oregon

1997-98 Board member of Illustrated Garden Gallery

1997 Home school art teacher for ill junior high student

1994-97 Corvallis Art Guild Show Chairperson

1994-95 Corvallis Art Guild Clothesline Sale Chairperson

1993–95 Water Color Society of Oregon Prospectus Chairperson

1990–94 Airbrush painting workshop instructor,
Linn Benton Community College, Corvallis and Craft Center, OSU

1990 Airbrush Class, accredited class in graphics department, LBCC, Albany

1985 Facilitated five figure painting sessions, community
outreach use of Oregon State University Art Dept. room

1977 Designed outdoor Christmas banners, Bellingham

Fibers Unlimited Marketing Group, Bellingham. (Lasted 1 year)
Started School Children’s Art Window, Clover Building, Bellingham
(Children’s art continued to be exhibited under the care of Joe the Tailor.)

1967-1985 Started figure drawing group, Whatcom County Parks, Bellingham
(17 years after I moved away, group is still on going)


1975 Art project parent volunteer,
Roosevelt Elementary School, Bellingham

1972 Artist in Resident, Bellingham High School

1966-67 Art instructor and arts and crafts show organizer
Silverbell Apartments, Tucson, Arizona

1965 Secretary White Gallery, Portland State College

1962 Lesson materials organizer, volunteer, Art Supervisor’s
Office, Portland Public Schools

Collections
2000 “Robinson House in Autumn,” a watercolor,
Benton County Historical Museum

“Mother on a Tractor Thinning Wood Lot,” acrylic,
Bend Oregon State University Satellite Campus, Art About Agriculture

1998 “Releasing a Steelhead,” Jay Clemens, juror

1995 “Boston Flour Mill,” watercolor,
Oregon State University Satellite Campus, Portland,
Art About Agriculture Permanent Collection.

20 “Silk Sunrise Screen,” Sunshine Printing, Bellingham

1975 Shah Mohammed Reza Pahlavi of Iran
(the silk painting, “Shore Birds” was confiscated by
United States Government: Commission for painted
10’ x 40’ silk mural above entry of the Cario, Egypt
coliseum was terminated when the Shah was deported and
died of cancer.)

1967 "Upper Clackamas," was purchased as a Townscape Award
to Governor Mark Hatfield.

1966–67 Three landscape paintings, First National Bank of Oregon
permanent collection of Oregon Artists,
First National Center, Portland

1965 “Future Portland Sky Line,” Smith Memorial Building Collection,
Portland State College

“River,” Bell Telephone, Springfield, Oregon

“Man Waiting,” Oregon City Medical Clinic

“Abstract,” Persy Manser, juror

Over a hundred Oregon and Washington collectors

Publication and Videos

“When Words Fail,” a video tape of Diane and her 90 year old mother painting collaboratively. Diane’s mother suffers from Alzheimer dementia but retains her aesthetic sense. The purpose of the tape is to share with other families how relationships can be strengthened through art.(The tape is produced by Donna Kuttner, 2001.)

Published author of “A Doll’s Birth and How I Helped,” Doll Reader, July 1991. Here I tell a story of my early interactive process. I was allowed to help design mother’s dolls.

Two paintings on silk, "Me As A Pillow" and "Shore Birds,” were on the cover of Graduate Woman, July/August 1980. The cover featured 17 art works from the 88 slides in a slide/tape with narrative script, an EFP Unusual Projects Grant. The objective was to show Pacific Northwest Women's art.

Two collaborative works for charity

"Peace on Earth" acrylic, 36" x 58", This painting was done in collaboration withMichelle Jondrow Schultz, Barbara Levine, and Barbara Weber. For sale for $450 not including crating and transportation.

Below "Viva", acrylic, 55"x40", Diane Widler Wenzel started the painting and Donna Kuttner put in some lines of color then Diane added the lowered eye lash in light green. For sale $350 not including crating and shipping. Both paintings will be exhibited in Corvallis at the Sunny Side Up Restaurant.

Please click on images to see enlargement.

One more painting for "The Rest of the Fish Story"

"Crab Boat II", acrylic on canvas, 40" x 55"

I have been organizing my studio looking for pictures for my retrospective, that until today I could not move in my space. It felt really good to start painting over this large one in the shop studio.

I should have more room now to continue to develop.

Watercolorist's 25th year studio cleaning

Cotton rag watercolor paper is precious and I had stacks of an estimated 900 full and almost full sheet watercolors unframed and without mats. Many have been previously framed and exhibited but are mostly not my interest now. I have put them in order of subjects ranging from people to beach scenery to abstracts. The stacks were on shelves with no more space to add more. I have difficulty finding specific paintings even though they are well organized.

Yesterday I felt very brave and I removed aproximately 250 paintings but did not throw away a single one yet. First I croped small gems from dozens of them. Two I liked so well I framed them for my January exhibit. After looking through all the 900 paintings I found the collage I was looking for and framed it as well.

My husband got into the act and experimented with the idea of bleaching one painting that I will cover with absorbent gesso for another watercolor.

I am still in the process of croping, reserficing, and sorting piles of unfinished work and saving bright scraps for collage.

"Fish Story" hung today at Albany Public Library

I feel a great deal of gratitude for my husband who helped me put the "Fish Story" up at the library. This wire system is new to me. Some of the paintings will need a label and I may change the placement a little when I am over the cold I picked up over the Thanksgiving family gathering. The next few days I will be taking it easy.