The Getty Center, Los Angeles

Upon arrival to the Getty's parking stucture, you board a tram that travels up a steep hillside to reach the the Getty Center atop the summit of a ridge. According to Getty literature, this tram ride is designed to give visitors the feeling of “being elevated out of their day-to-day experience.” When you exit the tram, you really feel like you have been transported beyond the mundane.

The grounds and gardens compete in beauty with the collections. To be fair, I only had time really to view a small number of works in the museums, because there was much to see outdoors as well. All white marble and natural stone, rising above the surrounding hillsides, the complex gives you the sensation of floating. The buildings have a modern aesthetic, but they also feel very old at the same time, almost ancient, as if the structures could also be centuries-old ruins.

It was a typically sunny day in Los Angeles, and very hot. The bright blue skies contrasted with the pale stone of the complex. On clear days the views are astounding, and stretch all the way to the Pacific Ocean and Catalina Island, with downtown in the other direction.
We are in the middle of fire season, and right now the hills in the Angeles National Forest, from Acton to Altadena, are on fire. The mushroom cloud of smoke rises above Los Angeles.
We took a one-hour guided tour inside the museum, and we looked carefully at four different works, within the theme of classical art. The pieces we viewed included Joseph Nollekens' "Three Goddesses", and our tour guide's knowledge of classical history and the background of the works was both engaging and enlightening. She brought the narrative and the sculptures framed by it to life.

The Getty remains free for visitors, but there is a $15 fee per carload. The grounds house four main pavilions that contain the museum's collections, several gardens and sculpture gardens, as well as the Getty Research Institute and the Conservation Institute/Foundation. There is so much to see and do while there; multiple visits are required. I am looking forward to going back.

Completed Painting: "Maria's House"

About My Process

My painting process changes from time to time, and sometimes within the same body of work. This painting was a commission, so the process began by having a conversation with the client and viewing the photograph that the client wanted translated into a painting. After we had come to an understanding about what was wanted, I produced a preparatory drawing, which can be seen in the lower left corner of this photograph. This drawing was a very simple pencil drawing, really more of just a line drawing, so I could become familiar with the shapes in the painting.

The next step was to prepare the canvas with several coats of gesso. Once the gesso was cured, I began to transfer the drawing onto the canvas using vine charcoal, which can be easily wiped away with a rag when a mistake is made. Once the drawing was transferred onto the canvas, I sprayed the canvas with a matte varnish to protect the drawing.

I then mixed translucent pink oil paint with Galkyd, which is a fast-drying medium that strengthens the paint film. I then painted the entire canvas pink. It was important that the paint was thin enough that I could see my drawing through the pink paint, as this paint layer acted as added protection for my drawing, while getting rid of the white of the canvas. This is helpful because this underpainting can be left showing through in some parts, bringing color harmony to the piece.

Working from the reference photograph, which can be seen tacked on my easel above the painting, I mixed my oil colors, mixing them with a medium of Galkyd and a little linseed oil, ensuring that the top layer of paint would not dry as quickly as the bottom layer, which is important to avoid cracking. I then began to paint. I normally cover the whole canvas with paint right away, and work on the canvas from there, because it is important to establish color relationships early on. With this painting, I approached it slightly differently, working on one area at a time, within the geometric framework of the drawing, realizing that I may need to change colors when the entire canvas was filled in.

When working from photographs, I think it is important to use them rather loosely – more of a jumping off point rather than trying to create a direct copy. Not only is the painting more interesting in my opinion, but it is much more fun to paint.

The painting has been completed, and I am waiting for the paint to dry so I can take a photograph of the work. I will post the photograph of the completed painting as soon as I can.