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Two Weeks Painting the South of France - Part 1

10/2/2026 12:06:03 AM

Peek-a-Boo Lavender was painted in a cabañon in the lavender field in Valensole. There were so many moments and hours like this. I can't wait to return.

It seems the whole year I was trying to figure out a way to get back to the South of France to paint. Making it tough was an intense summer schedule of painting in plein air competitions sandwiched between art shows that make up my "usual" year.  I wanted to get there in lavender season that's unpredictable at best but sometime in June until maybe mid-July in the Valensole region. My only opening was in early June until the third week when we'd head onto Telluride Colorado for Telluride Plein Air.

In my "usual" year, I would be setting up my booth in Rittenhouse Square in Philly that first weekend in June. Instead I'd been sitting on the waitlist for the show and finally it didn't look like that would change. On Thursday, June 4th -- Randy and I booked our flights, accommodations and rental car for a last-minute two-week trip to Nice and Aix-en-Provence leaving on Sunday, June 7th. Prior to committing to that, all packing and preparations for Telluride Plein air had to be in place since there would be no time to handle that once back home (for a day). I was motivated. It wasn't time to do my usual hemming and hawing.

This is what "happened" over 14 days in France. Let's look at them ... one by one.

The trip was my "ahhh" time before the nonstop plein air competitions and more intense "work" to come. (It would be immediately followed by two weeks in Telluride CO, then my first time participating in Plein Air Easton (8 -1/2 days there), then the 16-hour drive to Door County WI for that weeklong painting event. I needed this sweet time before all of that.

Plus, the lavender might be in bloom. (I didn't want it to do that without me. Kind of kidding?)

Almost there. :)

Day 1: Nice, France - June 8th

Exploring and Painting #1 - On the Rocks

We arrived in Nice bright and early the morning of June 8 for a three-night and three days of painting (with some exploring and eating) stay. I'd found a fantastic airbnb apartment there in the heart of the Old City, right at Place Messena. It takes a little bit of time to find the place to pick up our keys, then the apartment, load in those gigantic suitcase and take a nap in our new digs.

Then we took off to explore. Nice is familiar -- at least this part of it. But no matter where I am -- it takes a lot of looking and thinking to discover what just must be painted that day.

We visited the Cours Saleya market, walked the Promenade Anglais and the beaches below it. Eventually I'd come back and paint this scene there on the beach. (I don't bring along my painting gear on that initial scouting expedition. I pick my spot then go back and retrieve it.)

Here's Randy with my purple rolling suitcase/studio heading for the beach to set up for painting On the Rocks

                  Painting #1: On the Rocks (Nice, Italy), oil on linen panel, 8 x 10 in. painted plein air on the "beach"  below the Promenade Anglais

Nice used to be where we landed and then took off for the adventure. Then we stayed there for a short visit on a longer trip and loved it. Now I wish I could stay longer and longer. Problem is I feel that way about everywhere we go.

For On the Rocks, I sat and painted -- because that was the right perspective to capture everyone one else sitting or lounging there at the beach. (The beach is really a pile of shifting rocks. I can't quite envision lying out on a beach towel there.) It is always my intention to transport you to that place. The viewpoint has to be just right to do so. After all these years, I feel it when some place is the perfect spot to linger. To capture life there.

The title for this piece, On the Rocks, is so appropriate. Notice the beach?

On the Rocks - click the title or image for more info on this piece. Available.

Day 2: Nice, France - June 9th

Cours Saleya and a Nocturne in Place Messena -- Paintings #2 & 3: Marché des Fleurs and Night Time in Nice

I knew that painting the extraordinary flower market at Cours Saleya was up next. Even though I wandered every inch of that market testing out  every possible place to set up my easel -- it was inevitable that this particular stall would win out. My view and orientation was different than I've captured in the past. There is generally a practical element to choosing my spot. Am I going to be run over? Am I in anyone's way? Any chance to find shade? What worked once is likely not to work again. Somehow vendors are not designing their setups with me in mind.

Capturing the flower market at Cours Saleya in Nice

The flowers I had to take home with me -- with the colors of Provence

Painting #2: Marché des Fleurs, 12 x 24 in., oil on linen panel. Private collection.

I did rework this piece once back home after peering at it for a bit. The candy-striped awnings are a favorite part of this old market so they became emphasized. All my main characters remained the same but the background "noise" was quieted to make them stand out. I'm never looking to match details. This is all about feeling and the beautiful dance of the day.

For my second painting of the day, I chose to set up to capture the splash fountain that's there in the square. The night lights on the hill beyond it are beautiful. With a full day in the market (and still jet-lagged), a nocturne was in store.

There might have been a conspiracy in the works regarding the fountain and my chances of capturing it. It was tricky -- and I’m thankful to have been there before to have witnessed it with kids splashing and water spurting.

    Painting #3: Night Time in Nice in progress, 9 x 12 in., oil on linen panel. 

A sign that I'm still catching my breath from the summer full of painting is that this piece has yet to be photographed and added to my website. Note the photograph is poor ... but you can see the canvas better than I could that night.

Day 3: Nice, France - June 10th

Back to the Fountain and My Goodbye (to Nice) for Now Painting -- Paintings #4 & 5: Water Dance and Bonne Nuit

It's Day 3 and the last one in Nice. I love this city by the sea and am going to miss it. It helps that there are many adventures ahead.

I wanted to see the fountain again in person. I started a new painting. Daytime version. Different size.

This time there was a little bit of time with the fountain turned on and kids playing. Wrongly, I assumed that would continue all afternoon but I soon had to move from inside the fence to outside. Everybody out. Gates closed.

The water park emptied too soon and unexpectedty -- so outside the gates I go to try to recapture the memory

Not speaking the language necessitates taking cues from others’ actions and not knowing why something is happening. Why did the park close? A special event ahead? Maintenance? National holiday? It’s all a mystery but also a part of the adventure. I just play along and am happy that my “studio” is so portable.

Painting #4: Water Dance, 12 x 16 in., oil on linen panel. Available? Click the image for more info.

My next painting is my way of saying goodbye to Nice, squeezing in the last painting session (for now) there in the heart of Old Town.

Working on my goodbye-for-now painting of Nice.

My decision on where to paint was based on what spot “felt like” it might be open the latest. I wagered well. A birthday celebration gathering happened while I was there and people lingered.

Painting away, I was aware of the other al fresco dining shutting down – with tables and chairs stacked and pulled in closer. It was such a treat watching the sky move from the beautiful blue of dusk to darkness. Each painting has a past on these trips. Right beyond the arched opening in the back was that elusive fountain off on the left. A ways beyond that was the Cours Saleya market and to the right is the promenade with its beach and the sea.

Considering that I’d walked all over town selecting my spots to paint – the chosen destinations were within a short distance from each other. 

Painting #5: Bonne Nuit, 10 x 8 in., oil on linen panel. Available? Click the image for more info.

I have so much more I’d love to paint here – and miss the ones that didn’t make it to the canvas yet. They will have to wait … for now.

Day 4: Villefranche-Sur-Mer, France - June 11th

The Road to Aix-en-Provence Enchants -- Paintings #6 & 7: Love of the Sea and Day to Remember

Bye, Nice!

It was time to head off in the direction of Aix-en-Provence. But ... with a planned and very long, glorious day soaking up the beauty while painting Villefranche-sur-Mer along the way.

Hello, Villefranche-sur-Mer

Villefranche-sur-Mer is a magical town.

I was just going to be there for one daytime’s stretch of painting. I'd make the most of that day.

I had wanted to paint the beach there in Villefranche-sur-Mer but that hadn’t worked out in past visits due to iffy (rainy) weather. June 11^th was a gorgeous day. Perfect in my book! 

Because this trip was shorter than I’d ideally like), to maximize my time painting we visited towns and sites I already knew (versus exploring brand new ones to me).  In Villefranche-sur-Mer, I wandered the whole crescent of beach and easily could have selected so many spectacular paintings to be … including three just spinning around from the spot of earth I ultimately claimed for a viewpoint. Three wasn't possible. Even I had to acknowledge that.

The scene before me that became Love of the Sea was grand and my time was short. To match the grand aspect, I pulled out my 18 by 24 inch canvas -- the largest size that fits in and out of my suitcase. I wasn't going to be able to come close to finishing it there ... and was determined to also get in a second painting in that enchanting spot.

Painting #6: Love of the Sea  in progress at Villefranche-sur-Mer. This would be as far as it would go on location.

It’s tough to come up with new titles that reflect the feeling of being there. (I painted a well-loved piece in Key West quite a few years ago named Love by the Sea.) I’m certain everyone here on the beach, on a boat, dining by the sea, or painting away – all had the same true love of those turquoise waters.

Painting #6: Love of the Sea, 18 x 24 in., oil on linen panel. Private collection.

This was one of the hardest pieces of mine to finish back home – because I longed to be there. To put myself back there, we purchased a new top-of-the-line ipad and downloaded Procreate software. I took a photo of my unfinished painting, pulled it up in Procreate – and then painted, with my fingers and software palette on top of the photo.

I wasn’t relying on photos from the scene (which are few and far between and look nothing like that beautiful place). Instead, I was working from memory, choreographing a dance of umbrellas and people – and enjoying every moment. My digital painting became my source to finish Love of the Sea. A revelation!

Have to Paint One More

While painting Love of the Sea, the scene to my right -- a pivot away -- was calling with the water reflecting the sparkle of the soon to be setting sun. Everything about it whispered that this beautiful day was about to be done.

From start to finish on Day to Remember, my second painting in Villefranche-sur-Mer

Painting #7: Day to Remember, 12 x 16 in., oil on linen panel. Private collection. Sometimes its hard to believe places like this exist. So glad they do.

The sun dipping, restaurant closing and emptying beaches all dictated closing up shop for the day (versus any self-restraint on my part.) I’d watched both scenes unfold in slow motion and felt everything.

Thanks to my wanting to capture every drop of the day in Villefranche-sur-Mer, we arrived late and tired in Aix-en-Provence. It being late night and not speaking French – complicates finding the key and then apartment. We made it – but still had to park the car outside the old town and walk back before making it to bed. Phew!

Day 5: Aix-en-Provence, France - June 12th

Paintings #8: Frais Fruits of the Produce Shop 

Aix-en-Provence feels like home.  No longer near the sea, it was time to embrace the Provençal light and patina – capture the warmth of town.

Working on Frais Fruits of the produce shop on Rue d'Italie in Aix-en-Provence.

This shop has been a subject of previous paintings but each one has been unique. This trip’s Airbnb was centered more around the Rue d'Italie than the Cours Mirabeau. They are just short steps from each other (and I love both) but my world on these trips revolve around what’s right outside my door. I had a new “neighborhood.”  I love this painting .. the same feeling it evoked while creating it.

Painting #8: Frais Fruits, 16 x 12 in., oil on linen panel. Private collection.

Rue d'Italie is one of the oldest streets in Aix and all of France. It feels like it.

TO BE CONTINUED

I plan on continuing this day-by-day remembrance of this trip to the South of France. Look for a Part 2 and 3 to come ... and other notes added to this one.

French Paintings Collection

Ten Days in Italy

9/11/2025 7:20:32 PM

Time to Return

Sunset at La Romita -- our Umbrian home away from home

It's been awhile since painting in Italy -- and I had been feeling the pull of its people, sunlight, culture and beauty.

The First International WSLP Retreat

At the beginning of the year, up popped the opportunity to join an artist retreat in Umbria for members of the Washington Society of Landscape Painters (WSLP) -- a wonderful group of outstanding artists of which I'm proud to be a member. The timing was rough -- making me miss out on many traditions -- both personal and professional. Yet, this was the first time the group was considering an overseas get together and I just didn't want to pass up a chance to get to know fellow members of this special group ... exploring great places together.

Trust My Gut? Or Take the Leap?

You know how people tell you to trust your gut? I'm leaning toward the opposite conclusion -- at least as far as doing something different goes. 

The go/no go decision for Italy was so hard. Yet, it turned out to be one of my best trips. There are many other places I just wasn't sure about venturing to ... and they turned out to be wonderful.  The unknown destination  -- which we tend to approach with lower expectations (I had little info on where we would be exploring, who was coming, what our accommodations would be, etc.) -- often turn out the best. It opens up the chance for true discovery. That's what the Italy retreat offered ... big time!

WSLP in Italy

Because few folks lead busier lives than working professional artists who also have plenty of personal obligations, what started as a large group of wholehearted yeses and maybes -- dwindled considerably. In the end, five WSLP artists attended along with two neat spouses.

1. Trisha Adams

2. Trisha's husband, Sean Adams

3. Jill Banks (me) 

4. Jill's husband, Randy Banks

5. John Eiseman

6. Vicki Blum

7. Chris Rapa

The Gang -- Chris Rapa, Sean Adams (back left), Gail (special La Romita guest), Trisha Adams (fourth from left), Vicki Blum (in blue, front), Randy Banks (hubby, behind Vicki), John Eiseman, Me (Jill Banks)

Off we headed -- flying to Rome to be picked up by the La Romita Art School bus taking us to Terni, Italy for our ten-day adventure.

La Romita

La Romita was originally a monastery. We'd be housed in something like a dormitory and share hall baths.  Thus my trepidation? My pre-trip vision of that scenario was part of why my decision could have been a no go -- but reality was SO much better. Our rooms were basic but very nice with a great view out the window -- and the whole place, ancient as it was -- was spotless. The grounds were charming and beautiful. Rustic and scenic. And I absolutely loved the church turned studio with its garden beyond. Its interiors will eventually be subjects of my paintings. I ran out of time to capture them while there -- but their beauty wants my attention.

Our Itinerary:

Day 1: Arrival

Settle in - lunch and dinner at La Romita

First painting in: Under the Umbrian Sun, 16 x 8 in., oil - click the image for more info. Available

Day 2: San Gemini

Painting in San Gemini in the morning, back to La Romita for lunch and the rest of the day

Toward the View - 16 x 12 in. oil -- San Gemini

I thought that my easel was positioned out of the way. I thought wrong.  Spaces you don't think cars will pass through are regular thoroughfares. I did a lot of shuffling things around and hoping for the best that day.

My painting time for this and any other morning only excursions was squeezed way too tight -- generally 2 to 2-1/2 hours so it wasn't too long before the group would push for all day excursions and longer hours out there. Lunches -- great as they were -- were sure to lose out over more painting time.  As Chris Rapa would explain ... "We're warriors." Painting warriors. Appropriate.

At most locations -- we would drift off on our own -- to find our kind of scene. I spent almost all my time painting while others explored more. Wish I could have done both.

Day 3: Narni

Viewed the ruins of the Ponte Augusto over the river Nera and then painted in the town of Narni.

Centro - 16x12 in, oil on linen panel

Painted on location in Narni. This is right where the bus dropped us in this extremely hilly hill town. We had about two hours before it would pick us back up -- so I picked my spot and went to work. John Eiseman was painting right nearby -- a great and unique version of the town -- minus the fountain.

Day 4: Assisi

All day -- great picturesque lunch together near the top - Bar Giardino San Lorenzo - my only non-painting day.

Day 5: Montefalco

Painting in morning. Rest of the day at La Romita. (Rest of the trip would include full-day excursions except for our last one.)

Montefalco was an incredibly charming town. I picked a spot down off the main square and literally, had three paintings I wanted to create right there. Excuse the high glare photo. There will be a better one going up under Works eventually. If I'd been left to my own transportation -- I might still be there.

Cobblestones and Blooms - 10 x 8 in., oil on linen panel

Day 6: Park of the Monsters & Lake Bolsena

We visited the Park of the Monsters at the village of Boninaco then headed to Lake Bolsena at the village of Marta for a picnic lunch and painting. (We agreed to photographing and enjoying the Park of the Monsters vs. painting there to maximize time at Lake Bolsena.)

Park of the Monsters -- a wild, vast garden of the fanciful and ominous? I took it easy on the walking around part -- saving my feet for those hours at the easel. We had some great explorers in the group.

Lake Bolsena (Gorgeous!)

My guess at what Lake Como looks like/feels like ... just lower key (like me)

Waiting at the Lake - 16 x 20 in., oil on linen panel - shown on location

Day 7: Cascata delle Marmore

from 10am to 1pm -- world's largest manmade waterfall dating back to 200 BC engineered by the Romans -- one of the most thrilling adventures of my life to be there painting it. Best day!!!! The waterfall is turned on for two hours a day only. We were there for set up an hour before and then, just, WOW!

The Waterfall "Before" Photo

See that craziness back there?  I have more photos to add to give you a better "picture" of what made being there so special -- but in addition to how spectacular of a sight it is -- capturing it right there with Trisha Adams and Vicki Blum with the three of us oohing and aahing while painting just could not be beat!

Cascata delle Marmore, 16" x 8"

Day 8: Orvieto

All day -- I painted the Farmer's Market in the morning -- essentially melting in the sun. Then spent the rest of the day trying to recover while seeing a bit of this beautiful town.

Frutta e Verdura in progress in Orvieto, 12 x 16 in., oil on linen panel

Frutta e Verdura - click the image for more info on this piece

Day 9: Todi

All day -- I'd agree with other visitors to La Romita in saying that if I had to pick one of these spots to live, this town would be it. Close contest though with Lake Bolsena. We had an amazing lunch overlooking the countryside at Ristorante Pizzeria Cavour then I shopped for some gorgeous pottery right next door. My treasured finds were handpainted by an 87-year-old.  Patient man. Randy also met in Todi a woman who had been in my booth at the Wickford Art Festival in Rhode Island. She and her husband had purchased and renovated an apartment there in Todi and were kind enough to give us a tour of their place. Small world!

Three easels in a row -- right off the funicular in Todi -- John Eiseman, Trisha Adams with her painting and mine in progress

Way Up High - 12x16 in., oil on linen panel

Chris Rapa (seated) and Vicki Blum at her easel in the main square in Todi

Lunch at Ristorante Pizzeria Cavour. What a view! (John Eiseman, Vicki Blum, Trisha Adams, Sean Adams)

Me trying to squeeze in one more painting before quitting time in Todi. I've got a start, anyway.

Day 10: Stroncone

Painting in the morning -- then studio and packing time. Aperitivos al fresco too.

My last painting of the trip -

The Window Gardener, 16 x 8 in., oil on linen panel

My wall of paintings on the left. Chris Rapa working on hers on the right.

The church as studio. Our paintings from the trip line the wall on the left. Remarkable in every respect.

Aperitivo al fresco -- last evening there

Messages we left with La Romita in the Memory book. 

Day 11: Depart very early for the Rome airport. Ciao, Italy!

My paintings from the trip and more thoughts will continue to flow -- if I give them that chance. I'll finish them as I get the chance and then they'll be added to my collection here on the website. So much of what made this trip special can't be captured in photos. We had tons of great talks throughout the days and nights. Talked shop (equipment, colors, techniques, etc.) on bus rides and the in the studio. Talked art business stuff. Leaned on each other for solutions left and right. Talked life.

It was the easiest going, great at compromise, helpful, fun, bright, neat group to be with for ten days -- morning, afternoon and evening. We were lucky ducks to have taken the leap for this retreat!

The gang at La Romita. Edmund -- our main guide, seated.

Even the laundry is paint-worthy in Italy.

Line Dry - 12 x 9 in., oil on linen panel - click on image for more info about this piece

Artists on Location Plein Air -- Knoxville Sure Does It Right (Part Two)

5/4/2023 7:19:47 PM

Picking Up Where I Left Off - Part Two about Artists on Location and What Makes It Special...

Read Part One Here

Swimming Hole, 20" x 16", oil - finished painting (check availability)

I visited Mead's Quarry twice during my visit to create Swimming Hole. The first time the quarry had plenty of happy visitors -- lots of families there with young kids and some college students on the pier across the way.  It was during that first visit that the young girl entered my view (and painting). Since becoming a grandparent of two little girls, wee ones have appeared and become stars of the scenes much more frequently.

On the second visit -- approaching my spot, it was like the whole place exploded with people. The piers were completely full -- with picnic'ers stepping over lounging bathers to try to find a spot of their own.  Colorful inner tubes bobbed in the water. Kayakers went by.  A self-appointed DJ kept music going. And, I just kept on painting taking bits and pieces of the now current scene to add to the vision of Day One. The return was mainly to catch the colors of the water and rocks that I liked the best from my first visit. It's easy to paint past what you realize was the best light or moment for the scene.  If I do -- and have the opportunity to backtrack on a second session, I'll take it. Swimming Hole is now as it should be.

I did not want to capture the chaotic overcrowded scene -- so few people were added other than some of those inner tubes and activity on the water.  Those were welcome additions.

The reaction on both outings was amazing. And funny. There was one loud exclamation of "Holy s*@+" which turned out to be a compliment.

People of all ages were kind, encouraging, enthusiastic -- and sure seemed to enjoy my being there capturing life around them.

My view on day two -- this wasn't at "peak population" but it gives you a sense of how different the days were

Spot 3) Inside the Tennessee Theatre (Spot 1 and 2 are covered in Part One of this post)

Theatre Music, 24" x 24", oil on linen

On a Friday night, the last opportunity to paint before bringing work to hang in the Knoxville Museum of Art, I was granted a wish.  At orientation on Monday, I asked a few of the amazing women who organize Artists on Location if they could work some of their magic to get me INSIDE the Tennessee Theatre to capture one of the performances by the Knoxville Symphony Orchestra. (They were happening on Thursday and Friday nights.) I'd seen photos of inside the theatre that looked amazing ... and could already picture my painting.

It was a feat -- requiring lots of help from lots of neat people.  I needed permission from both the Theatre and the orchestra ... plus day of help getting settled inside a then locked building to find a suitable spot.  I found out at lunch on Friday that it was a go -- made some phone calls and was inside the projection booth starting my painting at around 2:30 pm. The performance was from 7:30-9:30ish with doors opening at 6:30.

"Setting the stage" in the hours before the performance began

It was a whirlwind. I chose the impractical size of  24" x 24" for a complicated, limited time painting to be created without the use of photography. The orchestra was performing Mozart's requiem.  From 2:30-7:00, I was "setting the stage" -- painting the interior of the theatre readying seats to hold the audience and chairs to fill with musicians. As the orchestra and audience trickled and then streamed in -- I captured them.

All was going fine -- as long as I continued to paint like crazy. I was a bit perplexed though by the empty tiered stadium seating  toward the back of the stage.  It was a bit of an eyesore. Right after a very brief intermission, I found out why it was there.  A seemingly unending stream of people entered the  stage -- without instruments -- and filled the bleachers.  A very large choir had joined the musicians. So many more people to paint while I was still working on capturing the ones who were there pre-intermission. Oh my!

A fast motion video from the moment the performance started until just before the end can be found on my Instagram and Facebook pages. It was intense.  This screen capture was BEFORE the choir joined the stage.

If you look back at my Instagram (jillbanks1) and Facebook (JillBanksStudio) posts from April 22 to see a video of the action. (I'd love it if you'd follow me on either of those.  It gives a good view of my always interesting life.)

Theatre Music was framed, hung on my wall at the Knoxville Museum of Art, adorned with a red dot and taken home by its thrilled new owners less than 24 hours later. The couple who purchased it were in the orchestra audience on Thursday -- so the painting became a lasting, very special memory for them. Wow and phew.  I owe huge thanks to my gracious hosts, the Artists on Location team, the Knoxville Museum of Art, Knoxville Symphony Orchestra and the Tennessee Theatre for making the wish come to fruition.

Wall of my paintings from Knoxville Artists on Location 2023 (freshly hung -- hours before the gala)

I now know -- for certain -- that I want to develop more paintings during events or performances.  Inside the theatre. Backstage or an audience view.  I love Degas' paintings of rehearsals or performances of the ballet. He plunks us right in the middle of the action. That's where I want to be and bring you.  I have some more wishing, planning and favor asking in my future.

What Makes Knoxville's Artists on Location So Great?

I've loved each of my four times participating ... and each year it keeps getting better.

At the end of the Saturday reception at the Knoxville Museum of Art, the plethora of red dots and empty hooks was breathtaking. Sales and happy artists, organizers and guest were abundant. The reception was packed with enthusiastic purchasers.

The Artists on Location team of incredible women have taken to heart advice they gathered from Kathie Odom on running the event: "Take care of the artists." They really listen and cover all the bases.

This year -- for the first time -- our work was beautifully lit on new display panels for the reception. The museum hall is a gorgeous space -- and the work looked stunning. This was a huge investment of time, energy and dollars that reaped rewards this year with record sales and will keep doing so.  I'd made the suggestion on my first time there -- and Carol Coode's kept my notes since -- working on some complicated logistics to get it done.

Knoxville is a thriving place -- full of fantastic architecture, vibrant culture, a mix of old and new, great people, and natural beauty. Painting the town here is a joy!

Here's my take on what makes for this event's continued and growing success:

1. The community is deeply connected and involved throughout the event. (Think of my painting in the theatre and all those helping hands.) Everyone wants to help and they do. The team pulling off the event brings in the hosts, sponsors, painting venue offers, collectors and enthusiasts. Social media is kept hopping with almost immediate posts from the artists each day -- and a daily schedule of where to see us doing our thing.
2. Artists sign up for one "shift" at one of the designated location day/time.  This ensures that those folks who want to see artists painting on a particular day will actually find them. It also adds to the camaraderie between artists sharing a shift.
3. They do a fantastic job suggesting locations. We have photos and descriptions -- and the vital info like restroom access -- for a great variety of venues.  Helping us find great places to paint contributes to sales success. 
4. They value our painting time. The orientation was great -- informative, smooth running and as quick as possible on a Monday morning so we could immediately get out there to paint. A wonderful reception for hosts, sponsors and artists was held one evening -- and it was optional to attend (but definitely great to do so) and we were invited to come as we were in whatever the painting attire of the day happened to be. Every detail was so thoughtful and helpful to keep us productive.
5. Great sales. The whole team is focused on pairing artwork with collectors.  They also are great supporters of the artists as well -- as all are looking to taking something home themselves. It doesn't just start at check-in for the gala either. They are aware of paintings posted on social media and at the designated locations -- and keep the wheels turning. We were equipped with a name tag and a laminated sign that gave the reception specifics. Sales off the easel were also allowed -- but then those pieces could not be displayed at the museum.
6. They take care of the buyers too. Sponsors have first access to purchase work at the reception with early entry -- and because of the presale rule in #5 -- they are really getting top picking rights. Volunteers with sales sheets are ready throughout the reception to take care of anyone set to purchase. Artwork can be taken home whenever the collector is ready to go.  All those red dots and disappearing art help encourage more of the same.
7. The reception is cash bar, nice but not over the top food. The focus is on the art.
8. Welcoming for all.  The reception is free and open to the public. The roster of juried artists is terrific -- and the work produced covers a wide range of sizes and price points.
9. The Artists. Somehow artists must be juried in for their great personalities as well as the quality of their art. It is always such a neat, warm and fun group. 
10. Beautiful presentation.  Having our art shown in the museum -- and so well with all those nifty lights -- sets the tone of appreciation.
11. The organizing committee clearly, genuinely enjoy working together and with the artists. The event is just a joy.

On a personal note, during my first year participating two of my paintings were purchased by two couples who are major benefactors of the museum. I appreciate that they have invested in bringing art into the community through the museum. That is such a gift to all who visit.  I love that they chose my work to enjoy in their homes.  It's nice to have your art collected while still walking around (alive).

Lonesome Dove, 16" x 8" (check availability)

Artists on Location Plein Air - Knoxville Sure Does It Right (Part One)

4/28/2023 9:07:14 PM

Although tired, I'm still feeling on a high after participating in Artists on Location -- a juried plein air competition, show and sale at the Knoxville Museum of Art.  This year was my fourth participating and each time keeps getting better. That is an unusual statement considering that last year I was awarded the top prize -- and this time no judge-chosen awards headed my way. Perhaps that speaks to what I care most about. This post might answer that.

Loving Knoxville -- So Much to Paint & the People (and Animals) Are Fantastic

There's an advantage to returning to a location multiple times. Tons of hours/days are spent figuring out where to go -- what subjects are calling your (my) name the loudest. (Plus time's needed to figure out where to eat, get to know hosts, the organizers and hopefully, connect with collectors.) I've already painted in a lot of spots -- so this year was spent building on my favorites plus exploring some new ones that seemed intriguing in the past.

Shown on the right is On the Square -- a 24 x 12 in. oil created over two days morning to mid-afternoon. This piece went home with a couple -- the husband worked in the building straight ahead and had watched over my shoulder on the second day and awfully interested in finding out more about acquiring it.  He and his wife made a very quick decision to purchase at the start of the gala reception. This wasn't a "new" spot for me -- but it was a deeper take. It concentrated on all the gatherings that take place right there -- the playground aspects of the square.

An Inbox with Thank You Notes - Mutual Gratitude

The painting's new owner was quick to send a note about On the Square finding its spot in its new farmhouse home.

Thank you so much for attending each year and helping to add so much to our city’s art culture.

We have found a special place at our new farmhouse for the oil of Market Square  ...

As we see this work, we will always remember the family fun and work times we spent downtown and the new friends made there.

He wasn't alone in his thanks.  I received notes from our incredible hosts, organizers, collectors -- and people who helped me out (a LOT) on a very special painting project.

As thrilled as I was being there -- it was met with lots of appreciation and kudos from it seemed like everyone else I met whenever out painting. Art does its magic everywhere.

Three Spots Not on the List

Year four helped me find three spots I hadn't visited before.

1) Museum of Appalachia -- This was the site of my first two paintings of the week. I LOVED it! I would have very happily painted all week right there.  My attraction to the spot was all about the animals -- but the setting and hospitality was great and Randy and I enjoyed the country store and down home lunch. I had way more than my share of pimento cheese all week -- and still got excited about each offering. My two paintings captured first -- two peacocks -- and second, two donkeys.  First time painting donkeys.  The sounds both subjects -- peacocks and donkeys -- made was a shock.

Tails of Two Peacocks, 12" x 9", oil on linen-lined panel, available. (Click the image for more info.) For this piece, luckily there were about six peacocks in the vicinity. That meant a model was never too far away although I did move my easel often to "capture" them.

Two Asses, 8" x 10" -- Gone to a new home (the painting, not the subjects). Husband Randy named the painting. The subjects weren't making it easy for me. Seemed like they were both vying for attention and playing hard to get.

2) Mead's Quarry -- I "discovered" this spot in a roundabout way. I saw photos of water, boats, people online -- then hiked a long way around Ijam Nature Park only to see a sign at the end pointing to the quarry being -- that way.  Randy was insisting there's no way there was a Quarry "Lake" across the street, but lo and behold, there was.  This was such a wonderful spot! It made me nostalgic for something I'm not sure existed in my past.  I'll tell you more about the adventures and reactions from two afternoons spent there ... plus my new-to-me Spot #3 ... and what made this particular plein air event stand out in my book.  It's got to come in my next blog post. Hopefully to arrive in the next week or two. (A look at my event schedule will tell you why it will take that long.)

Swimming Hole, 20" x 16", painted over two afternoons. Available. I so loved painting and being here.

More to come. Please stay tuned.

With a grateful heart,

Jill

Capturing Paris en Plein Air Days 1-3

8/26/2022 5:12:20 PM

Wanderlust

If you're a reader of my newsletter, you know that wanderlust was reaching a peak level last month. The highlight of my year, since 2006 -- my first overseas trip (to Florence, Italy) -- is packing my bags, seeing and experiencing something new through travel ... and transferring that joy onto canvas -- or in the earlier days, paper.  It became an even stronger link to my art since starting to travel with my oil paints -- capturing places en plein air -- starting in 2012. Somehow, it became a need. To witness life around me and make it appear on canvas. My job. My soul. Pretty closely tied to my happiness.

The Adventure Begins

Thankfully, I begged and squeezed in an 11-day personal painting trip to Paris -- started upon arrival on August 7 and ending on April 18 for the journey home. I pinched myself for those eleven days ... and seriously tried to "soak up" every sight, sound, smell. The noises at night out the window of our airbnb were like music. (Actually, sometimes they were.) I took time between painting to hold hands, appreciate, explore. I am thankful ... way beyond words ... for the joy this trip brought.

I was trying to show my thankfulness by painting my heart out. I take nothing for granted ... including the idea that there are plenty more trips to follow.  There are some beauties and promise of beauty to come in what I created there. There are some that didn't fare so well. But just a couple and maybe my memory will save them.

In 2018, I painted Notre Dame. In 2022, It peeked through in "Moonrise to Midnight" and shone bright on Randy's and my last late dinner there at Le Bistro de Augustins. The progress is under "wraps' with a great display surrounding it -- telling of the restoration. But it was seeing and capturing it in 2018 that made me realize that whatever I paint now may not be the same ... or there ... tomorrow. Another reason to show just how special it is.

Really special new captures included the Medici Fountain from Luxembourg Gardens and the view from Alexander III bridge. Like always, there was a rhythm of inspiration constantly leading to the next paintings.

As my third time traveling to this glorious city, I painted in some familiar places and a couple of new ones. It was hot while we were there ... leading to the return to shaded spots. "Twinkling Tuileries" is the closest I came to recreating a previous piece. Apparently, the Tuileries have not been redesigned since the last visit.

Twinkling Tuileries, 18" x 24"- strikingly similar to one painted back in 2018 from the same spot. Too good to avoid a second time. Oil on linen-lined panel. Available.

One perk of returning to Paris is that is the only way I could get a brand spanking new Charvin smock. I love them and they won't sell & ship them to the US.

In the "old days" too -- I would write a blog post telling of the tales of the day.  So here's my recap of the days ... at least fairly fresh.

Sunday arrival -- August 7 -- Day 1

I am SO excited to be in Paris. Oh boy!

Little hiccups go hand in hand with traveling. We got in early and to our airbnb with instructions to pick up our keys from the metro station a couple of blocks away. Unfortunately the Metro station was under some reconstruction ... closed on Sunday mornings until noon. So we had to keep our five suitcases company in front of our destination for a couple of hours. Gorgeous place to be stuck. It also afforded some short strolls to get our bearings and explore the soon to be bustling Rue Montorgueil that we would call home for the next 11 days.

We'd paid the King's Ransom to be in business class ... too ... on the way over with hopes of feeling a bit more human upon arrival.  I'm not a good sleeper in the best of conditions.  No sleep for me. I did keep thinking about the hourly charge for my “hotel.”

When we did get into the airbnb, it was nap time for a bit … and later I started my first painting of the trip, a view down Rue de Tinquetonne from one of the huge windows in the apartment that “sold me on it.” (I spend days picking out where to stay and it is about the view out the window and around the "neighborhood. This was good enough for me to forgo air conditioning during a heat wave.)

"Bird's Eye View" work in progress -- first painting of the trip.  Still to be finished. 24" x 12" (detail view)

Then, Randy and I took off for long, long winding walk around this magical city.

August 8 - Day Two- Tuileries

I'm still in the "getting my sea legs" stage painting plein air in Paris. I painted two relatively small pieces of the sculptures in the Tuileries -- with neither being terrific yet. This doesn't worry me. I know the groove will soon be back and meanwhile I'm enjoying the scenery, memories being made, visions right in front of me. When and if I become happy with the actual results, you'll see those two.

August 9 - Day Three- Luxembourg Gardens

This was the only day I made it here although I planned to get right back.  I could have painted all eleven days in the garden. But, it was a long trek from our apartment and something super appealing kept popping up -- begging to be painted each time I tried to head here. 

Day three was great -- with the morning to early afternoon merrily consumed painting the Medici Fountain in Luxembourg Gardens.  It has always called to me and it was time to take that off my bucket list. Plenty of experience helped save me, too, from selecting the most popular viewing spot.  I sat to the left of that selfie magnet in a spot where my view was unobstructed.  Perfect.

"Medici Fountain," 18" x 24", oil on linen-lined panel -- painted plein air in Luxembourg Gardens. So peaceful. 18" x 24" is the largest canvas I bring on these overseas trips -- as that is the max that fits into my suitcase for the trip home. Any pieces I want to paint that are 12" x 24" or 18" x 24" need to be started early in the trip so they are dry enough to pack back up. I have wet panel holders for all the other sizes I bring.

In the afternoon, a second piece I'm happy with came to life ... "Wind in Their Sails."

"Wind in Their Sails," 12" x 16", oil on linen-lined panel -- painted plein air in Luxembourg Gardens

All the neat interactions with visitors at my easel were taking place -- something that I love. I only speak English -- which means I miss out on some conversations but fortunately there are a lot of people out there who speak multiple languages. My paintings help bridge the gap, too -- as they share those scenes we all love. There are so many times that I thought this would be a great photo to show what the experience is like -- but always remembered after the fact.

I'll pick up on the rest of the days in some additional blog posts. Right now we are headed to Pittsburgh (almost there) where I'll be showing my work at Shadyside: The Art Festival on Walnut Street this weekend. Five paintings from my Paris trip will be getting their premier in my booth.Find out more about Shadyside here.

Hope you'll check back for more. I am also teaching plein air painting this Fall -- in person, on location -- in the metro DC/Northern Virginia area.  I'd love it if you could join me on the adventure.

How Do You Know When You've Made It?

4/2/2022 5:05:47 PM

This post really is about a very special visit to my studio by the Women's Committee of the National Museum of Women in the Arts. I was contacted via Instagram message by Julie Sapone about being featured in one of the Women's Committee programs. Was I interested? Of course! An explanation of the title comes a little later. I hope you'll read on.

Getting Ready

On March 10, thirteen wonderful women joined me in the Arts of Great Falls Gallery where I'd temporarily taken over the walls for a solo show ... and we just had the best time getting to know one another.  I had been fretting ... seriously ... about two things.  1. What would I paint for my demo? 2. What would I feed them?

Leading up to the day was a frenzy of activity. My "To Do" list was ridiculous, even by my standards. It was a test, too, of just how agreeable husband Randy was to the craziness. In the course of two days, I taught two classes, picked out/packed up/hung my solo show in the gallery, rehung my studio walls, printed tags, printed brochures, put together goodie bags, put up a still life to paint (not too excited about that), arranged the room for the demo and then figured out food.  Oh, and made multiple stops for balloons. Perfect time for our trusted Dollar Tree store to be out of helium.

Refreshments are ready

It was 1 or 2am the morning of the visit that we were still contemplating coffee. We realized picking up to go containers of coffee wouldn't work and Randy managed to locate and figure out our own big coffeepot instead. On the way over we picked up the best coffee cake ever from Panera Bread plus I pleaded my way to acquiring some fresh fruit - pineapple, strawberries, cantaloupe, freshly sliced (by me) right before my special guests arrived.

Goodie bags and brochure waiting for each guest. In the gallery, "On the Town", "Dancing Days" and "Golden Lights." The "photographer" was a bit too busy to get great photos.

The first two to arrive were Julie Sapone and her friend, Winter Michael.  I immediately asked Winter if she would be interested in sitting for me to paint her portrait. She agreed! Happy day! The fun was about to begin.

First things first. The women enjoying each others' company, refreshments and the art.

As others came through the door and were warmly greeted by Julie, Randy and I moved away the still life and set up a "throne" for Winter. The ladies were enjoying chatting, viewing the paintings  and enjoying the snacks. Time to get seated. Julie gave a great introduction. I was ready to get to "work." Randy and Julie took a whole series of videos and photos that showed just how magical this morning was. Laughter and art and pure joy.

NOTE: Click the button with the four arrows and then hit play. The video will cut off abruptly at the end but you'll have seen a great introduction to this group and our day together.

The women had never watched a live painting demonstration before. I wasn't trying to teach them how to paint but instead was showing them the joy of it. One slight teaching-ish moment was telling them that I squint at my subject to simplify shapes. That was when Winter cracked up and commented that "It looks like she's painting with her eyes shut." She must have wondered what the painting of her was looking like.  In watching back the videos, I too have no idea how something appeared on the canvas. I was spending so much time with questions and answers and stories that the painting was definitely not getting my undivided attention.  Painting truly is like breathing to me. That day was a testament to that.

The questions and insights were different from other demos I've given too. Julie asked the question (rephrased since I can't remember her exact words): "When did I know I made it?" My immediate answer was "When the Women's Committee of the National Museum of Women of the Arts comes to visit." I was kind of joking and kind of not.  This was a pinch-me moment for me. It was an honor. But best of all, I was able to share the joy and passion of painting to this group who clearly loved art and being with me that day.

I thought of two other special rungs on the ladder I'm still climbing.  One was when I was first showing my work at a juried art festival in McLean VA. My dream in this fledgling second career of mine was to travel supported by my earnings as an artist. At the show, I had many admirers of my work - and lots of sales.  I had been taking this passion of mine seriously ... but it was the first time that my husband Randy started to look at it that way. That meant a LOT.

The second big moment was the first night -- sitting under the stars looking out over a vineyard in Piemonte wine region of Italy where I'd been invited to teach a plein air workshop for another amazing group. Randy and I were sitting on the rooftop deck with wine and a snack ... and I was thinking "Really?"

There are so many times though that feel like that. I'm smiling while painting. Others feel the joy oozing out of the canvas. I am enormously grateful to be granted the joy of doing what I do and the opportunity to spread all that good stuff around.

Winter and I ... soaking in our moments of fame

We ended the visit with a neat lunch together at the Old Brogue Irish Pub where more of my paintings are hanging in their Snuggery dining room.

How The Old Brogue Irish Pub Became My Major Art Muse

7/8/2020 11:10:50 PM

One of the major worries of mine when this pandemic first struck was how do we preserve those beautiful aspects of our everyday life before it -- the restaurants we loved to visit, people who we love to see, businesses that we work for or rely upon. One in particular I worried about is the Old Brogue Irish Pub - Great Falls Virginia's equivalent of the Cheers Bar and a gathering place over decades.  It's a big business with a huge heart -- part of so much good within the community and beyond.

The Brogue is a couple of doors down from my joint studio at the Artists' Atelier in the Village Centre but even before I took up painting, Randy and I shared family dinners with our then young kids there.  It's the connection between this place and my art that were the subject of a very long thank you note I sent a couple days ago to the Brogue's owner and Great Falls unofficial mayor, Mike Kearney.  I'm "re-publishing" that letter here.

 

Other Brogue related art stories:

Whenever I meet a local person, they invariably tell me they recognize my work from having seen it at the Brogue.  There's an instant connection and they saw it in an environment that's just how I'd hope they'd experience it. Warm, homey, happy.

"Tea for Two," 20 x 16 inches, painted from life inside the Brogue, available - influenced my 100 Faces in 100 Days Project

My first time painting people from life, without their being a model and having to be still was "Tea for Two" - painted with permission in the Snuggery while they were having tea.  After they finished, I stayed in the Snuggery for hours -- painting the walls, tablescapes, etc. and keeping your diligent staff from clearing the table for as long as possible.  That painting planted the idea for my "100 Faces in 100 Days Project" and also immediately led to my painting "Colleen's Boys." She had been in the Snuggery writing on her laptop while I was painting "Tea for Two" and asked what would happen if her three sons showed up there on a certain day that week.  I agreed to paint them as a commission -- although at that time I was in the middle of one of our many moves.  It took a bit of time and scrounging around to get organized to paint that day, and by the time I was sort of ready, all the smoothies and food had pretty much been consumed and it was a struggle to keep the three contained for long. Still turned out.

"Colleen's Boys," 16 x 20 inches - painted from life and some photos right after "Tea for Two." Private collection.

I painted in the bar one day during one of my shows ... and turns out that one of my subjects in the painting was David.  Marjorie, David's wife, who I had not met yet caught word of the painting and immediately called me to purchase it as a surprise gift for his big birthday party there in the Snuggery where it was allowed to sit for the evening on the mantel.  This has led to an incredible friendship with Marjorie who has a Jill Banks roomful of art, including "Spring Gathering, Great Falls" - one of the big pieces I painted plein air on the hill -- that was published on the cover of the Celebrate Great Falls Annual Schedule of Events.

"The Brogue Bar," 18"  x 24," oil on linen-lined panel. Private collection.

"Spring Gathering, Great Falls "- 24 x 36 in., painted plein air from up on the hill. Private collection.

Detail of "Spring Gathering, Great Falls" on the the cover of the annual Celebrate Great Falls Schedule of Events

There are tons of Cars and Coffee paintings including one from last year painted on the Atelier porch. Another looking up toward the Brogue "Village Light" (also in Marjorie's collection). I painted out back for "St. Patrick's Day" - plein air - at a little distance from the green beer, just in case.

"Cars and Coffee" - my first one in that series. 16"h x 20"w. Private collection.

"Cars and Coffee Two" - second in the series. 16"h x 20"w, oil on linen-lined panel. Private collection.

"More Cars and Coffee" - the latest one painted from the front porch of the Artists' Atelier in the Great Falls Village Centre. 24"h x 12"w, oil on linen-lined panel. Available.

"Irish Pub" - was awarded the Leila Gardin Sawyer Award (one of the top prizes for an oil painting in this particular competition) at the Catharine Lorillard Wolfe Art Club's Open Juried Exhibition at the National Arts Club in NYC. That was neat. 18"h x 24"w, oil on linen-lined panel. Private collection.

"The Snuggery" - I still have this one.  You were stopping by Bob and Candace's table - making the rounds. 18"h x 24"w

Wrenches in Things

4/4/2020 2:40:40 PM

This post and sentiment is a different one for me. I'm not so sure about this being the right time to share either. My hope is to offer hope.

Since last summer, I've been trying to figure out how to offer painting instruction online ... and to find different ways of connecting with collectors if that became necessary. Here's why I thought it might be. (No. I didn't see a pandemic coming.)

The Wrench

At the Rittenhouse Square Art Show (a three day outdoor art festival) in early June in Philadelphia, all of a sudden my knuckles swelled and hurt (like crazy). Then toes, knees, wrists, elbows, neck ... you name it. On top of the hurt, I was tired to the bone, depleted. Luckily husband Randy was there allowing me to arrive late to my booth each day and do much less physically than an outdoor art show requires.  Obviously my body was telling (screaming) something to me.

Once back home, my primary doctor suspected it was Rheumatoid Arthritis, put me on prednisone and told me to go see a rheumatologist.  The last directive was easier said than done.  It took until August to get an appointment with a specialist (not an easy process) who confirmed the diagnosis as a progressive and aggressive form of rheumatoid arthritis. It needed to be treated ... aggressively ... or I'd be in big trouble.  (Those weren't his words precisely but it was his implication.) I could clearly tell that whatever direction this was heading wasn't a good one unless help arrived. Pain, sleeplessness, exhaustion, a ton of days not getting out of bed, not being able to paint at all or at max an hour before needing rest  ... I no longer resembled me.

My life as an artist has run for a long time with extended, very full days trying to stuff 100 lbs. into a 10-lb. bag. I travel a lot. I participate in plein air events that are intense (and wonderful).  Meet new and faithful collectors at fine art festivals like the one at Rittenhouse where you pack up paintings, put up a booth and hang the art with care and engage all day. For years, I've also taught three classes a week during spring, fall and winter sessions. My main job, though, is painting. No matter how easygoing Bob Ross made it look (I watched one of his episodes recently ... I think for the first time), painting is physically and mentally demanding. I love all of these different aspects of my "job." It's been hard work but rewarding, fulfilling and fun.

On some dark days with arthritis raging, I remember lying in bed thinking what if this doesn't get better? What if I can't paint? What if ... the list went on ... but nothing was quite as important as what if I can't paint.  These thoughts ... from an eternal optimist. Uh-oh.

It felt like my beautiful world might fall apart.

It didn't. That summer I painted less frequently but oh how thankful any time at my easel made me.  On that first visit to my rheumatologist in August, I handed him a brochure about my art.  (A little weird ... I wasn't trying to sell him my art but instead sell him on how important my hands and being able to function were to me.) I picked the right doctor. (Dr. Phillip Kempf - Arlington VA) He's smart, knowledgeable and best of all, made me feel a whole lot better. Gradually, my optimism grew back.

There are ups and downs. Medications come with their own risks. The RA drugs suppress your immune system making you more susceptible to infections and as the warnings go, if you do get an infection, it may be more severe. Yep. I can vouch for that. A cold led to a sinus and ear infection and burst eardrum at the end of December. That infection caused about a month of what could have been perfectly wonderful painting time.

Those tough days did make me worry about securing future income as art sales and teaching income are what support the household. Before RA came knocking, probably naively, earnings were not a concern since I relied on my do-whatever-it-takes attitude to make more than enough happen. It struck me that it also might be a good idea to have a Plan B to help supplement Plan A. (We are savers with a nice cushion plus sales have been plentiful. What might need to be adapted was how that income is generated.)

Hmmmm ... What's Plan B?

I love to teach painting (not as much as I love painting, but close). One of the most appealing ideas for how to generate consistent income for the times when I'm not physically up to painting or teaching live or talking to collectors at events is to build online recorded (vs. live) classes/instruction that can be purchased throughout the year.   I'm somewhere in the process of building that.  You cannot buy my instructional videos because they don't exist yet. But, the puzzle pieces are coming together and wheels are turning.  When I haven't felt well enough to paint, I've purchased and watched tons of video lessons to cull what works and doesn't. I've watched LOTS of webinars on how to develop online courseware. Researched equipment, software, platforms, how the product could be promoted and sold.  I've recorded lots of videos while painting or giving demos.  Next up is seeing what's usable and tackling editing for the first time.  It will be plenty of trial and error. In all that video lesson watching, the more natural, less structured painting demos with low tech editing were my favorites. They felt like painting - zenlike - because that's what the artists were doing vs. putting on a show.  Whatever results from my efforts is unlikely to be a best seller and who knows if it will generate any income to take care of that original goal.  If I don't create it, though, it definitely won't. 

What I will bet on is that those videos-to-be are going to convey a love of painting and as much knowledge and inspiration sharing I can pack into them. If I make those, maybe others will follow to replace or supplement the book I didn't write on my "100 Faces in 100 Days" Project.  I keep making art ... the basis on my Plan A.

"Great, Great"

Today I feel pretty darn great. This staying at home time means way fewer germs than normal floating around. Medicines (right now prednisone and Rinvoq) are working. I am extraordinarily thankful for everything that doesn't hurt. I love that climbing or descending the stairs isn't something to plan for.  I love that today is full of possibilities.

Despite the ups and downs arriving with this new un-welcomed RA challenge, what incredible blessings occur every day.  I carried on, a little more gingerly and way less Energizer Bunny-like, at Telluride Plein Air, many outdoor fine art festivals (Wickford RI, Shadyside in Pittsburgh, Northern Virginia - Reston, King Street Art Festival in Alexandria VA, Bethesda Row in MD, and McLean ArtFest), and three more plein air competitions (Falls Church Plein Air - winning 1st Place and Paint Great Falls - 2nd Place and People's Choice). Randy and I had the most amazing trip to the South of France - Cote d'Azur and Provence - in the summer.  Many beautiful paintings came from our time there but I didn't push myself, found places to sit to paint, and balanced driving around, reading the guidebooks, sitting at cafes with time at the easel. The joy of being there was overwhelming in the best of ways.  A big worry was anticipating the start of classes in the fall of last year. If they had been a week earlier, I'm not sure what would have happened. By the end of that session, those medications started to make life easier along with making my face and body rounder and rounder. In December, we took a week long healing break in Key West where I slept a lot, watched those teaching videos and put in only as many painting hours as seemed comfortable.  (That's me ... roughing it in Key West ... with "Beauty and the Beach" in progress.)

Beauty and the Beach, oil on linen-lined panel, 20" x 16" - I so loved this beautiful day. (Available) Even though I'm not painting as much, my work keeps improving. There's even more emotion in it. Love, gratitude, awe in the beauty of life.

I'm doing well, mentally (most of the time) and physically.  I sure hope you are too. I am in good shape to face all that fun, challenging, hard work routine that occupied those years prior to RA thanks to a good doctor and effective medications.  Neat opportunities are/were plentiful with shows, and plein air events.

And Along Comes a Virus

Hmmm again. 

Cancellations, Postponements and Classes

I was accepted into Knoxville's Artists on Location plein air competition originally slated for April now pushed into September.  Accepted into the Northern Virginia Fine Arts Festival (moved from May to September). Accepted into Mountain Maryland Plein Air (big yay! but we'll see if it goes). Accepted into the June Rittenhouse Square Show that's also up in the air. Just like all of you, all that good stuff on the calendar evaporated. The joy of being with other people will have to wait or be found another way. Creativity is definitely required to continue those real, personal conversations with collectors.  I'm working on that.

Up until now, my classes have always been in person, live sessions were I could help a student along by pointing to an area or picking up a paintbrush or looking at their palettes. Shutdown. With my spring offerings pretty full, I've been working with fellow teachers and the Executive Director of the Arts of Great Falls School to salvage this quarter's much-needed tuitions by figuring out a way to teach effectively live online. Lots of that earlier studying, research and watching gave me a base of knowledge to work with.  The shutdown brought an outpouring of people coming together - throughout the country - to offer tips and brainstorm. It's heartwarming to see and incredibly helpful.

In a little over a week -- two of my classes will be taught online -- live using Zoom meetings.  With the help of one of my neat students and lots of pow-wows with fellow teachers and Julie, I know how to visit, guide and teach on a personal level at the easel via distance learning.  Students will still experience the comraderie and fun of being together.  I'll be pulling together extra tools and more of a curriculum plus pieces and parts in a more organized way -- also making and using some very low tech videos to teach studio practice along the way.  All of this will help with my goal of developing that prerecorded online courseware plus highlight where there might be gaps that need filling.

There are a couple spots open in case you'd like to join us. Get more info here.

My arthritis trauma taught me there's a light at the end of the tunnel.  There will be with this one too.

Farm Market Flowers, oil on linen-lined panel, 16" x 12" - painted in my Rittenhouse Square booth in September three months after my first RA whammo. Look at all that joy and hope. (Available)

"Date Night" Wins First Place in Falls Church "Scenes in the City" Plein Air

6/14/2019 10:34:31 PM

Date Night, Little City, oil on linen-lined panel, 20"h x 16"w, ©2019 Jill Banks - awarded First Place

And the winner is... Date Night, Little City ... my plein air painting of the Dogwood Tavern ... taking First Place. A big thank you to judge, Glen Kessler, the Founder and Director of the Compass Atelier, award sponsor Don Beyer Volvo-Kia of Falls Church and the Falls Church Arts folks including its intrepid President, Barb Cram.  What a great event!

On Saturday, June 15, the artwork created over the past weeks or months for the Falls Church "Scenes in the City" Plein Air was on view (and for sale) at the Farmer's Market at City Hall, 300 Park Ave in Falls Church VA from 9am to 2pm. There was a quick draw from 8am to 11pm with those paintings immediately displayed and judged with awards for both competitions announced at noon. Lots of great work and congrats to all the winners!

Saturday, June 15
"Scenes in the City" Plein Air Schedule
City Hall/Farmer's Market
300 Park Ave, Falls Church VA
9am to 2pm - Competition Paintings on Display/For Sale
8am to 11am - Quick Draw/Registration at 8am
Noon - Awards Announcements
People's Choice voting in the morning for the competition paintings - pick your favorites.

Join me on Saturday, June 15 as the artwork created over the past weeks or months for the Falls Church "Scenes in the City" Plein Air will be on view (and for sale) at the Farmer's Market at City Hall, 300 Park Ave in Falls Church VA from 9am to 2pm. There's a quick draw from 8am to 11pm and those paintings will be immediately displayed and judged with awards for both competitions announced at noon.

This is the second time I've entered this event ... and maybe the best since the area becomes a little more familiar and I tend to dig deeper.

Three paintings were handed in to be displayed while I sought out my quick draw spot in the morning.  Spring in Pinks and Greens (shown right, oil, 24"h x 12"w, ©2019 Jill Banks) was the first created this year -- painted over two afternoons as spring was peaking and moving beyond. 

Coming up next was Date Night, Little City  - painted in the parking lot behind the Dogwood Tavern another set of afternoons/early evenings. 

In each of the three "scenes" chosen, people were gathering. "Spring in Pinks and Greens" is at the Cherry Hill Historic Farmhouse with Girl Scout Troops playing in the yard.  "Date Night, Little City" was a mixture of dates and get-togethers during the beginning of warm and comfortable days.

My last of the three was a joy.  On the way to Falls Church Arts via a different route, I passed Lincoln Park, a neighborhood playground and green space filled with toddlers and kids with a bevy of vehicles called constantly into action.  It was pretty funny as a plein air painting location since there was some sort of unwritten rule that if I started to paint any of the unoccupied vehicles ... uh, they immediately became the car of choice.  Okay, I've been through this so many times before.  Patience.  I'd get another view of it similar enough if enough time passed. 

Creating Making Memories of Lincoln Park became more than recording objects.  This place, according to what I witnessed that day and what others told me  ... is really magical. Full of friendships, family time, joy. 

These three paintings are on view at the Falls Church Arts Gallery
700-B W Broad Street (Route 7)
Falls Church, VA
Hours: 11-6 Tuesday-Saturday and 11-4 Sunday.
Ask for the work from "Scenes in the City"
Not sure how long they will be there.

Making Memories, oil on linen-lined panel, 12"h x 12"w, ©2019 Jill Banks

Fine Art Today Publishes - 46 Christmas Cards and Counting

12/21/2018 3:28:36 PM

For a look WAY back in time along my artistic journey, here's your chance. Fine Art Today (the enewsletter of Fine Art Connoisseur Magazine) just published my history of designing my Mom and Dad's Christmas card.  If you want a more recent take of my fine art career and oil paintings, keep in touch through my website, Facebook page and Instagram.  Happy Holidays to All!

From Fine Art Today -- December 17, 2018

Since 1972, artist Jill Banks has been known as her parents’ “Christmas Card Creative Director.” View some of the nostalgic cards in this homage.

By Jill Banks

Once upon a time, Mom’s annual Christmas poem and notes for my parents’ card were unaccompanied by one of my drawings . . . or later, paintings. All that changed in 1972 (I’d like to say when I was 2…) and they’ve yet to ask me to retire, 46 years hence.

This collection of cards packs quite a history. Mom’s poems, my parents’ sentiments, reflect the concerns and joys that each year holds — in the nation, the world, and among family and friends. They noted milestones, moves, babies, weddings, deaths, anniversaries, wars, peace talks, Nixon’s resignation, inflation, elections, dreams, trials and tribulations. The stuff that life is made of.

Read the whole article here.

https://fineartconnoisseur.com/2018/12/christmas-cards-paintings/?utm_source=ActiveCampaign&utm_medium=email&utm_content=Christmas+Card+Paintings%3A+46+Years+and+Counting&utm_campaign=FAT+12-20-18

The original painting for the 2018 card is “Serenade,” oil on linen-lined panel, 10 x 8 in. by Jill Banks (available through the artist)

14 out of the 47 Christmas covers are included in the article plus my Mom's first poem from 1957 (reprinted in 2007 and now in Fine Art Today) plus just lots of warm holiday wishes.

Happy Holidays to All.

Please share or like the article.  Thank you!!!

See more of my work at: www.JillBanks.com
Follow me on Instagram: jillbanks1  and Facebook: @JillBanksStudio

Beary Christmas, 10" x 8", oil on linen-lined panel by Jill Banks -- this one hasn't made it to the cover of their Christmas card -- but maybe later.  (Available)