Nothin' but Pink . . .: Dancing Delight Peony #7

Dancing Delight Peony #7

SOLD

4x4 inches / oil on panel

Introducing my newest blog entitled

"nothin' but pink"

No doubt inspired by our particularly long, cold winter this year with a loss of power for several days resulting in 18th century style cooking in the main fireplace while my studio and other rooms in the house were a bitter 34 degrees, as well as your many requests for more florals, I've taken this opportunity to begin the New Year with a new, most cheerful pursuit which I hope you enjoy! Thank you for your devotion these past two years following all my other blogs. My best wishes to you and your families for a most delightfully fulfilling New Year!

About Time . . .

Predominantly a self taught artist, Jeanne Illenye’s early studies of the Dutch masters provided a solid foundation for her large, classical still lifes. However, in more recent years Jeanne has joined the trend of contemporary realist masters whereby utilizing simpler, more punctuated compositions. The most singular hallmark of Jeanne’s work aside from an obvious aesthetic beauty, is her depiction of age. Whether torn stems of peonies cascading from a cracked porcelain bowl, a broken Robin’s egg fallen from it’s nest, a threadbare baseball perched upon a rustic woodblock, collections of antique silver and lace, or dew kissed roses in a jelly jar, one quality prevails . . . her reverence for nature and an acute awareness of the effects of time upon her subjects thus making Jeanne’s work both endearing and enduring.

DEFINING STYLE

Merging classical realism with contemporary realism, along with her passion for preserving Nature are what define Jeanne Illenye’s voluptuous still life paintings. A freshness and clarity is emerging in a new style with a lighter palette featuring country treasures from her antique collections and gardens. To have your own collections featured in a custom painting, contact Jeanne HERE. CREATE YOUR OWN FAMILY HEIRLOOMS WITH A CUSTOM PAINTING TODAY! Send me photos of your own collections for a price quote.

SERIES PAINTINGS

1980 little gems (current)
1989 windows / looking out (retired)
1995 olde world classical (retired)
1997 chocolate / decadent delights (retired)
1997 serene spaces (retired)
1997 antique victorian silver (current)
1998 looking up (retired)
1998 looking after them (semi-retired)
1999 nothin' but pink (current)
2010 treading softly (spring 2010)
2010 new light (spring/summer 2010)
2011 untidy garden 2011 shades of white
2011 lilac dreams
—-
ethereal landscapes (TBD)
winter whites (TBD)
textures (TBD) moods (TBD)
billowy blossoms (TBD)
cottage blooms (TBD)
summer rain (TBD)
the ancients (TBD)

Food for the Soul

"You [LORD Jesus] care for the land and water it; You enrich it abundantly. The streams of God are filled with water to provide the people with grain, for so You have ordained it. You drench its furrows and level its ridges; You soften it with showers and bless its crops. You crown the year with Your bounty, and Your carts overflow with abundance. The grasslands of the desert overflow; the hills are clothed with gladness. The meadows are covered with flocks and the valleys are mantled with grain; they shout for joy and sing." Psalm 65:9-13

Why I Paint

On Choosing Still Lifes "I think we all have been blessed with many gifts which we interpret differently...I happen to paint. But being a painter is not everything...it's not about being technically book learned, or how many degrees one can acclaim, or even the monetary value placed upon a work of art, as these do not necessarily reveal an intuitive creative spirit, or passion and appreciation of our natural world. We artists all paint for different reasons, and mine just happens to be because I truly, truly LOVE our precious Earth and all her diverse beauty. If I wasn't a still life artist and had more exposure to vast and dramatically scenic areas, I'd no doubt be a landscape artist...or perhaps I might choose wildlife art. However, since growing up in the suburbs of New York City, my focus was more closely directed specifically toward the earth beneath my feet. I believe that is where my passion for still lifes began because they mimic my childhood curiosity about Nature...when small and close to the ground one can pick a Buttercup or Clover, Ladybug or rock and examine it with great fascination. To me still life painting is really doing just that but on a more mature level, yet the wonder and enthusiasm is still there! It's my gift to be able to "see" and to paint is my way of sharing the glory...on a spiritual level, His glory...and painting for me is indeed a spiritual experience, for how could it be anything else when in the presence of Nature's sheer perfection?"

On Painting in Zen "For me it most noticeably occurred about 15 years ago with the creation of the most challenging paintings of my life, my huge, elaborate florals. The process was so intense and required so much mental energy it was peculiarly more work than studying differential equations or chemistry. Those paintings took months to complete as I taught myself how to grow to a new level. What is that Zen feeling for me? Where time is incalculable...observation and skill merge into a spiritual experience. Hurdles are long forgotten and I seem to be in a comfortable plateau in terms of color mixing, composition, balance, etc. The tea kettle boils dry...the promise of only a few minutes at my easel soon brings the realization six hours later that it's 3AM...the insatiable desire to keep recording ideas on panels that stack up by the dozens in my studio before I can find time to get back to them...the meditative state that occurs every time I sit at my easel...I call it auto pilot...the ability to tune out...the familiarity of spending so much solitary time in deep concentration. Only the jarring sound of a phone or the undeniable sweetness of birdsong or fluttering wings splashing in the birdbath can pull me away momentarily from my easel...before my work once again beckons. It's a spiritual experience which I hope my work someday lives up to. Right now I'd say the richness of the process actually exceeds the results...but I'm working on that...." Jeanne Illenye (c) 2010

2010: New Directions

Refining FOCUS Enhancing TECHNIQUEDeliberating PURPOSE As I continue to complete many paintings begun in 2009 which will be offered in the first quarter 2010, you will also begin to see the emergence of new characteristics in my work. Look for a more refined focus which will include simplified, more emphatic still life compositions as well as a more expansive portfolio of floral botanical and garden paintings. All will reveal a new light with specific focus on the following series:* nothin’ but pink series floral botanicals* silver series still lifes of antique sterling silver* treading softly series garden imagesAlso look for the publication of my first book in 2010

REFLECTION AND CONTEMPLATION

2010: PAINTING IN A NEW LIGHTReflecting upon the past year with my goal "2009 A Year of Flowers" which I was unable to achieve due to a pleasantly consistent flurry of commissions, I have set my sites not only on that objective yet again, but with the added dimension of introducing a fresh, clean, crisp appearance to my paintings, thus hopefully truly rising to a competitive level with fellow contemporary realist masters.My classical training (predominantly self taught via intense study of the Dutch masters) has tremendously influenced my work. However, I have for several years now since selling online, attempted to incorporate a more contemporary flair to my paintings such as introducing subjects other than fruit and flowers as well as cropping images to generate visual tension. It has been an enlightening experience, yet I still retained strong ties to my classical roots. Now I feel the time has come to more fully commit to this new direction and gracefully move into a new chapter.Look for a brightness in my work that may have been lacking previously, as well as increasingly stark compositions which serve to intensify the effect of realism in my subjects. The dense, voluptuous, overcrowded canvases of my past will be edited to slimmer, more punctuated compositions in lighter settings with greater utilization of the "blank" space for support of a subject as opposed to contributing and participating in the abstract quality and visual movement of my classical paintings. Almost an oxymoron, the classical paintings have a more abstract quality composed of deliberately calculated relationships than the simple contemporary pieces.Also look for a resurgence toward that unsatisfied goal of 2009, A Year of Flowers but with a new, more focused attention toward the delicacy of the Earth in a series "Treading Softly" for beneath our feet lies a complex world so often overlooked. Through my work I will attempt to bring emphasis to these delights of Nature so that we may learn to appreciate and protect her gifts. Join me on my journey . . . painting in a new light.JEANNE ILLENYE

ARTISTS IN ZEN

For me it most noticeably occurred about 15 years ago with the creation of the most challenging paintings of my life, my huge, elaborate florals. The process was so intense and required so much mental energy it was peculiarly more work than studying differential equations or chemistry. Those paintings took months to complete as I taught myself how to grow to a new level. What is that Zen feeling for me? Where time is incalculable...observation and skill merge into a spiritual experience. Hurdles are long forgotten and I seem to be in a comfortable plateau in terms of color mixing, composition, balance, etc. The tea kettle boils dry...the promise of only a few minutes at my easel soon brings the realization six hours later that it's 3AM...the insatiable desire to keep recording ideas on panels that stack up by the dozens in my studio before I can find time to get back to them...the meditative state that occurs every time I sit at my easel...I call it auto pilot...the ability to tune out...the familiarity of spending so much solitary time in deep concentration. Only the jarring sound of a phone or the undeniable sweetness of birdsong or fluttering wings splashing in the birdbath can pull me away momentarily from my easel...before my work once again beckons. It's a spiritual experience which I hope my work someday lives up to. Right now I'd say the richness of the process actually exceeds the results. I'm working on that....

CANNOT TAKE CREDIT

I can only say that our world possesses the beauty. . . I am merely a tool by which to humbly communicate His eartly gifts in paint. We humans are so in love with this Earth and all her abundancce of life that we have an insatiable desire to hold her close at every turn, whether it be in a garden or city windowbox, a purring kitten, playful pup or painting of same hanging on a wall to warm our otherwise blank manmade spaces. Earth's beauty warms the heart; we artists merely aid in that process.

Favorite Daily Quotes

Over the years I've received so many beautiful, heartfelt sentiments from my clients, patrons and followers that I absorb as nourishment for the soul. Since they come to me from countless sources, I'd never had time to gather them in one place as some artists do, but once in awhile something will linger on my desk such as this cheerfully poetic phrase which I enjoy daily: "I can tell you are well when your paintings cast a spell." --Lorna MacPhee Another inspirational quotation on my keyboard: "If one advances confidently in the direction of his dreams, and endeavors to live the life that he has imagined, he will meet with a success unexpected in common hours." --Henry David Thoreau ...and on my easel, although completely obliterated by paint yet committed to memory: "Success usually comes to those who are too busy to be looking for it." --Henry David Thoreau

Rosebud by (seeking author's name)

It is only a tiny rosebud, a flower of God’s design. But I cannot unfold the petals with these clumsy hands of mine. And the secret of unfolding flowers is not known to such as I. God opens this flower so sweetly, when in my hands it dies. If I cannot unfold a rosebud, this flower of God’s design, Then how can I have the wisdom to unfold this life of mine? So I’ll trust in Him for leading each moment of my day. I will look to Him for His guidance each step of the pilgrim way. The pathway that lies before me, only my Heavenly Father knows. I’ll trust Him to unfold the moments, just as He unfolds the rose.

AN UNTIDY GARDEN

"An untidy garden is an artist's dream . . . ." Jeanne Illenye 2009
As I begin to catch up on my commissioned paintings of both still lifes and pet portraits as well as my artistic charitable donations, I will finally be able to begin exploration into my personal painting goals,
2009 . . . A Year of Flowers
When one has the heart and sympathy of both an artist and gardener, the results are that of an untidy garden . . . which offers the most uniquely beautiful images for painting. Watch as I finally begin my foray outdoors and temporarily abandon my still lifes to bring you some botanical and garden paintings while the season is in her fullest burst of song proudly exhibiting her most voluptuous blooms!
Watch as my garden sings and my brush joins the chorus!-- Jeanne Illenye

In memoriam of my cat whom we found 12 years ago as a kitten thrown into a city street gutter and left unconscious, I am dedicating this section to causes that protect animal rights so that you too, can take action against abuse. Many of these links ask nothing more than the cost of a stamp...but of course the more you help the better. My sincere thanks for sharing this effort with me.Be sure to click the image on the right to visit my blog where I paint for animal charities. On behalf of all those in need, thank you!

HSUS - Humane Society of the United States
PETA - People for the Ethical Treatment of Animals
ASPCA - American Society for the Prevention of Cruelty to Animals

CREATIVE PROCESS BEHIND MY LARGE ELABORATE FLORALS

Aside from the obvious inspiration from the Dutch masters, employing their basic compositional structure, the Hogarth curve—named for William Hogarth (1697-1764) who defined the reverse S as the “line of beauty”—in various proportions in my larger florals has been a natural, intuitive process. What takes more significant effort is the minute structuring of details as they interact with one another to generate tension therefore interest on a more abstract level, i.e., how a petal is curled and shadows the neighboring leaf and the shape and color of those shadows, etc. What makes this aspect particularly challenging for me is the fact that I have never had the luxury of painting from a large floral arrangement in my studio. Rather, I resort primarily to memory and snippets of photographs from my garden from which details are refreshed in my mind. Both the idea and structure of a painting almost come to fruition simultaneously as I briefly stare at the blank canvas, and then evolve rapidly as I begin a raw, unplanned underpainting. This process is the most exciting for me as it requires maximum creative force and foresight. Often I can make such significant progress toward fulfilling my vision in that first sitting, that I’m satiated for quite some time.The second stage contrasts significantly with the first as it requires a great deal more perseverance with the deliberate calculation and placement of every detail on an abstract level while at once remaining sympathetic to the knowledge of a flower’s actual appearance. This is what I consider to be the most challenging and often exhaustive stage, persisting over as much as eight weeks.Once the final stage is reached I begin to have fun again. This is where I add legs dangling from a hovering bee and add an ethereal quality to the wings of a butterfly, or permit light to softly sift through a petal or reflect through a dewdrop onto a surface...it’s what makes the painting begin to feel magical to me...and perhaps if I’m successful, hopefully for you, too!

SPRING

IMMERSED IN A RAINBOW OF COLORS AND AN ARRAY OF DELICATE TEXTURES . . . Having been emotionally consumed by Nature's vibrant beauty, I've been unable to draw myself out of the garden and into my studio. However, I'd like to take this opportunity to jot a friendly note to say that I've been watching my survey results and continue to see an overwhelmingly positive response to my floral paintings. Therefore, as Spring is currently in full bloom here in Michigan, you may expect to see a resurgence of same reflected in my work. With initial gardening chores underway (although gardening really isn't done until the snow flies) and with the premature onset of Summer's heat, I am driven indoors to the coolness of my studio where the colors, textures and glory of the seasons manifest into paintings.

CAUTION: COCOA MULCH

"An untidy gardenis an artist's dream."Jeanne Illenye 2009As I begin to catch up on my commissioned paintings of both still lifes and pet portraits as well as my artistic charitable donations, I will finally be able to begin exploration into my personal painting goals, "2009: A Year of Flowers"When one has the heart and sympathy of both an artist and gardener, the results are that of an untidy garden . . . which offers the most uniquely beautiful images for painting. Watch as I finally begin my foray outdoors and temporarily abandon my still lifes to bring you some botanical and garden paintings while the season is in her fullest burst of song proudly exhibiting her most voluptuous blooms!Watch as my garden sings and my brush joins the chorus!

IF I CAN . . .

Introducing my newest blog entitled "Nothin' but Pink". No doubt inspired by our particularly long, cold winter this year with a loss of power resulting in 18th century style cooking in the main fireplace while my studio and other rooms in the house were 34 degrees, as well as your many requests for more florals, I've taken this opportunity to begin the New Year with a new, most cheerful pursuit which I hope you enjoy! Thank you for your devotion these past two years following all my other blogs. My best wishes to you and your families for a most delightfully fulfilling New Year!

January 1, 2009

AUGURIES OF INNOCENCE

"To see a world in a grain of sand,And a heaven in a wild flower,Hold infinity in the palm of your hand,And eternity in an hour.A robin redbreast in a cagePuts all heaven in a rage.A dove-house fill'd with doves and pigeonsShudders hell thro' all its regions.A dog starv'd at his master's gatePredicts the ruin of the state.A horse misused upon the roadCalls to heaven for human blood.Each outcry of the hunted hareA fibre from the brain does tear.A skylark wounded in the wing,A cherubim does cease to sing.The game-cock clipt and arm'd for fightDoes the rising sun affright.Every wolf's and lion's howlRaises from hell a human soul.The wild deer, wand'ring here and there,Keeps the human soul from care.The lamb misus'd breeds public strife,And yet forgives the butcher's knife.The bat that flits at close of eveHas left the brain that won't believe.The owl that calls upon the nightSpeaks the unbeliever's fright.He who shall hurt the little wrenShall never be belov'd by men.He who the ox to wrath has mov'dShall never be by woman lov'd.The wanton boy that kills the flyShall feel the spider's enmity.He who torments the chafer's spriteWeaves a bower in endless night.The caterpillar on the leafRepeats to thee thy mother's grief.Kill not the moth nor butterfly,For the last judgement draweth nigh.He who shall train the horse to warShall never pass the polar bar.The beggar's dog and widow's cat,Feed them and thou wilt grow fat.The gnat that sings his summer's songPoison gets from slander's tongue.The poison of the snake and newtIs the sweat of envy's foot.The poison of the honey beeIs the artist's jealousy.The prince's robes and beggar's ragsAre toadstools on the miser's bags.A truth that's told with bad intentBeats all the lies you can invent.It is right it should be so;Man was made for joy and woe;And when this we rightly know,Thro' the world we safely go.Joy and woe are woven fine,A clothing for the soul divine.Under every grief and pineRuns a joy with silken twine.The babe is more than swaddling bands;Every farmer understands.Every tear from every eyeBecomes a babe in eternity;This is caught by females bright,And return'd to its own delight.The bleat, the bark, bellow, and roar,Are waves that beat on heaven's shore.The babe that weeps the rod beneathWrites revenge in realms of death.The beggar's rags, fluttering in air,Does to rags the heavens tear.The soldier, arm'd with sword and gun,Palsied strikes the summer's sun.The poor man's farthing is worth moreThan all the gold on Afric's shore.One mite wrung from the lab'rer's handsShall buy and sell the miser's lands;Or, if protected from on high,Does that whole nation sell and buy.He who mocks the infant's faithShall be mock'd in age and death.He who shall teach the child to doubtThe rotting grave shall ne'er get out.He who respects the infant's faithTriumphs over hell and death.The child's toys and the old man's reasonsAre the fruits of the two seasons.The questioner, who sits so sly,Shall never know how to reply.He who replies to words of doubtDoth put the light of knowledge out.The strongest poison ever knownCame from Caesar's laurel crown.Nought can deform the human raceLike to the armour's iron brace.When gold and gems adorn the plow,To peaceful arts shall envy bow.A riddle, or the cricket's cry,Is to doubt a fit reply.The emmet's inch and eagle's mileMake lame philosophy to smile.He who doubts from what he seesWill ne'er believe, do what you please.If the sun and moon should doubt,They'd immediately go out.To be in a passion you good may do,But no good if a passion is in you.The whore and gambler, by the stateLicensed, build that nation's fate.The harlot's cry from street to streetShall weave old England's winding-sheet.The winner's shout, the loser's curse,Dance before dead England's hearse.Every night and every mornSome to misery are born,Every morn and every nightSome are born to sweet delight.Some are born to sweet delight,Some are born to endless night.We are led to believe a lieWhen we see not thro' the eye,Which was born in a night to perish in a night,When the soul slept in beams of light.God appears, and God is light,To those poor souls who dwell in night;But does a human form displayTo those who dwell in realms of day."William Blake (1757-1827)

Contemplation

Recently I was asked to discuss the concept, "Rules and models destroy genius and art."Well, let me give that one some thought. This is an enormous subject and open for infinite interpretation. Just off the top and dissecting that a bit, I debate addressing rules or models first. Perhaps models would be the quickest to dismiss. Upon hearing the word "model" one is conditioned to visualize a thin, pretty young woman (although the author could've been referring to a bottle or flower, etc.). Nevertheless, as most folks think of a supermodel, I'll therefore slightly change the direction and address "beauty" first.There is actually a mathematical equation for beauty (admittedly, I have forgotten it) which can easily qualify the statement that models destroy genius and art. Yes, if there is a tremendous lack of "beauty" in a particular model and if one is attempting to be purely representational in one's depiction of same, the model can inhibit creativity. However, that having been said, beauty can still be found in that very same model by merely altering the pose, setting and/or manipulating the lighting to effect mood, etc. Also, the artist has his/her own internal instincts for making alterations which enhance and diminish features that may otherwise not fall into the technical qualifications of beauty. This is most easily observed when reviewing the variations of artists' works during a life drawing class. Then there are those artists who deliberately defy beauty and relish the deformed and ugly. That leads me to the next portion of that statement, rules.Being a child of the 60's and a Capricorn in the astrological chart and the Fire element in ancient Chinese philosophy, you can immediately guess my response to rules. However, while I think rules are made to be broken, there are indeed some that have proven to follow along the lines of that mathematical equation. With my own work, for example, I follow the tried and true Hogarth Curve composition utlized by the Dutch masters for my large floral still lifes. Then there are the five elements of design, which again, I consistently utilize. As my personal intention is to create paintings that evoke pleasant thoughts and strike a chord in the viewer that reminds them to take the time to appreciate our natural world, I attempt to portray my subjects with significant accuracy, again enhancing where my instincts suggest, all within my particular skill level. True, it's difficult to present a flower or any form thereof, as unattractive, however, some may alter it so far beyond reality that it can metamorphasize into a mere interpretation of that individual's innermost thoughts and emotions rather than the subject that initially inspired the work.In other words, models and rules in my opinion do not destroy genius and art. It is up to the artist to interpret those rules and models in such a way as to use them to best advantage depending upon the intentions of the artist. Therein lies the genius of creating art.

Dancing Delight Peony #7

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soul and purpose

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2010: New Directions

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ARTISTS IN ZEN

CANNOT TAKE CREDIT

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Favorite Daily Quotes

Rosebud by (seeking author's name)

AN ENRICHED LIFE

HOPE

AN UNTIDY GARDEN

Summer Reminiscences

hundreds of original oil paintings sold

PROTECT ANIMAL RIGHTS AND WILDLIFE

IF I CAN . . .

CREATIVE PROCESS BEHIND MY LARGE ELABORATE FLORALS

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SPRING

PAINTING FOR CHARITY

CAUTION: COCOA MULCH

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IF I CAN . . .

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AUGURIES OF INNOCENCE

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