my art process explained through many paintings of blanche's boudoir

I was organizing photos to have good examples of my painting process for my classes when I stumbled upon some good ones of Blanche’s boudoir! I’ve painted this subject three times so far. This room is one of my very favorites in all of television.

Blanche Elizabeth Devereaux. Her initials are B.E.D

This room is iconic!

Because Blanche is “an artist”, with the swankiest wallpaper and bedspread design, reminiscent of the wallpaper in the Beverly Hills Hotel, I love re-visiting this subject. Repetition is great for developing painting muscle memory! I found that in painting her room repeatedly I was able to gain greater understanding on multiple levels. No wonder Blanche was so popular!

This is the first painting I did of Blanche’s Boudoir. 11”x14” acylic on canvas.

This first painting was done pretty spontaniously . It started with quick gestures but otherwise went in with as Blanche might say “unbridled passion!” Sometimes it flows that way, a painting needs to happen and you go with it. This was all about gesture and using as few brushstokes as possible. It’s a good example of working ala prima, or in one session with wet into wet paint directly on the canvas.

She inspires me so!

The second painting I did of Blanche’s boudoir.

6x8 “petite”

Working on the “petite” painting made me think of this conversation:

Blanche: So that's when this saleman from men's sportswear walks clear across the store into ladies' petite and says, "Oh excuse me, miss, but I noticed you've been having a hard time deciding between the turquoise strapless and the flaming red backless. Well, personally I'd like to see you in the backless." And I said, "When?" And he said, "How about Saturday night?" And I said, "How about in your dreams, sleazo!" Can you believe the nerve of that guy?

Rose: What were you doing in ladies petite?

The second painting was a commission and almost postcard size, only 6”x8”. Working small scale is fun because it’s immediate and you have to make good editing decisions with brushstrokes.

Photo for scale and I’m wearing a Golden Girl’s shirt.. There’s Blanche’s face!

Scale is important in deciding what kind of experience you want someone to have with your work. This one is very intimate and cozy. “What size canvas should I use?” is a frequently asked question most everyone has in my classes. The answer is, it all depends on the time allowed, the feeling of the subject matter and your own comfort level, to get a feel for the paint without getting frustrated at detail and gain a sense of accomplishment.

Guy Corbin: Our second contestant is an artist with an incredible body. She runs her own museum, speaks Chinese and hopes to sail around the world before she turns 40. Wow, that must be a typo. Welcome, Blanche Devereaux!

The third painting was a commission as well and the largest of all my Golden Girl work, 28”x 39”. The process is explained below, and is how I approach most of my paintings.

first step-drawing

Drawing in the major shapes and getting the composition placed using a paintbrush. Usually burnt umber or paynes gray.

second step-value

I start blocking in values from darkest to light still just using one color. The value changes are made by diluting the paint with water to make it darker or lighter. No white paint yet.

third step-color

Once I feel like the values and drawing are pretty much accurate, I do some light blocking in with color.

pulling it all together

This is the finished piece built up starting from value and working to color. The paint gets thicker and color more saturated.

happy painting to all! thank you for being a friend!