That time of year again...soon.

So, in keeping with the coming Season, I thought I'd post this piece. Small, simple, and direct to the point. The model I used for the Virgin was the daughter of some friends and I had painted her portrait when she was about 4. At the time of this sitting, earlier this year, she was 16.
Oil on linen, 46 x 30. 

Available....

New available pieces

I've updated my "Available Work" page and added a few pieces that I think might be of interest to some collectors out there. Have a look, who knows?--there might be something you fancy...

I've also changed the status on some that have already found new homes. To those out there that have supported my work and purchased these pieces: my sincere gratitude goes out to you as well as my hope that you will have many years of enjoyment and proud ownership!

Here's a shot of a corner of my little studio and how it looks as of today... 

New website!

Finallyyyyyy!

Had one ages ago, or so it seems, and couldn't get around to building a new one after I had decided to discontinue that first one. Till today...!
So....whatchuwaitinfor!!!
www.carlosygoapaintings.com

Taberna

... Spanish for "tavern", what else?...which is pretty much a public locale where a wide range of beverages and sometimes food are served. Madrid has its share of typical tabernas, many of them beautifully adorned with ceramic tiles and polished hardwood bar counters. In the touristy center, these establishments usually start teeming with activity at around midday, when those tending bar will serve the quick caña or vino or vermouth along with a tapa before the clients sit down for the lunch service. 

I've always wanted to depict an interior scene in one of these dives, ideally painting on location, but that would not have been logistically feasible, so I've had to resort to multiple photographic references along with years of quick sketches of people at bars, cafés, etc...The first two images below are quick compositional studies in color, playing around with  placing the elements and establishing light and shade and, of course, working out some basic color schemes. 
The last image is the completed painting, a small piece, on canvas mounted on panel, 23 x 17 cms, or about 9 x 7 inches.

...and here are some of the initial ideas in pencil and wash...

Looking towards the Plaza Puerta Cerrada

Still very grateful for some of the time I have right now to produce some personal stuff, this time another watercolor. I've been focusing on the old section of Madrid and yesterday I finished this small piece of a section of the Calle Segovia going up towards the Plaza Puerta Cerrada. The base of the granite cross that was installed there in the 19th C (apparently to conceal a water tank) can be seen in the top half of the painting, at the foot of the buildings. The plaza has this interesting name owing to the fact that the gates of the ancient Christian wall surrounding Madrid were usually kept closed and locked in this area to prevent thieves from victimizing travellers going in and out of the city.

More outdoor sketching

This time, one in watercolor and the other in oil. One in the city and the other in the hills.

I´ve been trying to exploit the old section of Madrid--aside from its rich history and old-world appeal, its numerous squares, labyrinthne streets, and typical architecture all lend themselves well as painting subject matter, whether one's goal is a finished work with a new appraoch or simply just an exercise in observation. This watercolor was more of the latter. The old Puente de Toledo over the Manzanares river in the recently refurbished Madrid Rio area...

Then there's the landscape of the north-northwestern section of the province of Madrid with its hills and valleys, dotted with bushes and juniper trees and holm oaks, all on a vast granite bedrock. This small oil (29 x 32 cms) on mounted canvas I was able to complete in about three hours and am quite pleased with.

...some progress shots of the work that day...

Sketching in Madrid

Had the opportunity to do a quick watercolor sketch today in the city. I found myself in the Retiro park area and decided on a view of a street (Alfonso XII) looking down towards the Puerta de Alcalá. It was a relativley quiet afternoon with not too many passersby. I did have a family with two little girls and a young architecture student from Serbia stop by and chat me up, which is always nice...

...and this is the little preliminary sketch in a smaller notebook...

First for the year

So, it's the new year...quite freaky when you stop to think about it for a second that it's been 19 YEARS SINCE THE TURN OF THE MILLENNIUM!!!! A child born then would now be old enough to drive, drink legally, probably voted already at least once, in his second (?) year in College, etc., etc....it's best to stop thinking about the passage of time this way, so here's the reason for my post. 

Decided to do a watercolor exercise, mostly because I think I've worked so much in oils in 2018 that I'm still de-briefing and watercolor is my go-to medium to "relax". So here....

This is an older theme of the Plaza de Platerias in Santiago de Compostela. I did this in oil some time ago, I think it's in an old post here on this blog, but I like the facade here so much that I decided to render this in watercolor. Rainy day urban scenes are so fascinating to interpret in watercolor (or in oils), just as much as a sunny urban scene with all its cast shadows...

...and this is a primary value study I did in my notebook since I wanted to break the scene down and see where all the values should lie, more or less.

I hope to do more of these watercolors in the coming days, preferably on site, but also from my own photo references if necessary...

Stuff...

I have me some precious time on my hands these days, what with the Christmas break and all, so I've been "dabbling" again. Quick sketches of people on the train, in the street; quick watercolor notes on site, and more finished watercolors in the studio...even some small oils. Hope to be able to do more in the coming days...and hope to post them here... 
Check out the new page "Available Work"...there just might be something you like!

Happy Wednesday evening to all...!

Been a looong time..

After almost two years, I've decided to update this blog and get it back up and running.
It's been an unusually busy and tiring (in a good way) year and a half.  Liturgical painting has been the main thing for me during this time and I've completed 4 altarpieces-- one small three-piece for a chapel, two very large format for two churches, and one large but not THAT large, this last one for a private chapel.

So here goes...


In June of 2017 was the first one -- the three-piece reredos for a private chapel in Chicago, Il.
The central piece was quite the task, first time painting on a water-gilt panel.

Then, at the start of 2018 came the first of the two large-format altarpieces for Saint Mary Catholic Church in Williamston, MI. Working on this was quite intense, but I thoroughly enjoyed it.

This was followed by another large work for the parish of Our Lady of Victory and St. Joseph in Rochester, NY. It consisted of figure paintings for the apse behind the altar and other elements for the domed ceiling above the sanctuary. The paintings were done here in Madrid on linen canvas and these were then attached to the curved walls of the apse and the doubly curved dome. I then painted the clouds and sky on site, waaay up on a scaffolding, which was quite a thrill...!

Then, most recently, I've completed this piece--not that large in comparison to the previous two projects, but not exactly easel-size, either. This is for another private chapel whose location I still cannot disclose as it has not been installed yet.

It's sort of a repeat of a painting I had done years ago for a chapel here in Madrid, an Adoration of the Shepherds, with some visible major changes but maintaining the basic composition. The space in the center is reserved for the Tabernacle which will be placed upon installation in the chapel.

More recent dabblings...

I've managed to crank out a few more little pieces lately. Nothing major, just small pieces to help keep the fire burning.

I'll start with the latest. I thought I'd paint elements of a subject I'm quite familiar with. These have been lying in the kitchen after each use and finally they shouted out at me loud and clear.

Bannetton and proofing baskets

oil on panel, 60 x 35 cm.

Then there were these little oil sketches I did on site. The first one is of the Roman ruins in Segóbriga in Cuenca, just about a little over 100 kilometres southeast of Madrid. It's a very little known tourist attraction, even among locals. I´m glad my son, who had been there some years ago in a school field trip, encouraged us to see it.

The second is a small panel showing a view of the Guadarrama range in the northwest corner of the province of Madrid with its first snowfall of the season. This was back in the fall, November of last year.

Roman ruins of Segóbriga, Cuenca.

oil on canvas on panel, 30 x 40 cm.

Sierra de Guadarrama from the Cañada Real

oil on canvas on panel, 24.5 x 30 cm.

Then, there's always the occasional self-portrait...for lack of a willing model... also painted in the fall of 2016.

Frown, self-portrait 2016

oil on canvas on panel, 33.5 x 22 cm.

Recent dabblings

Definition of dabbling

1. :  a superficial or intermittent interest, investigation, or experiment 
   "Intermittent" is why I chose this word as my post title as I believe it best describes my activity in painting these past couple of years. I've been lucky enough, though, to  have been able to do a little more "dabbling" than usual since my last major piece--the Velazquez copy of this past summer.
   A good friend of mine was nice enough to "lend" me her kids to use as models for little portrait sketches--three delightful little ones: a three-year old boy, a two-year old girl and the youngest girl who just had her first birthday. Bursting with energy, all three of them, so needless to say, any attempt to paint these toddlers from life was not even considered...so I had to resort to a series of photographs of each to work from. It was good exercise and such a pleasure to paint heads again, even if not from life. It had been quite some time since my last head study in oil, so this experience was very welcome. My sincerest thanks again to these kids' parents for having to put up with the "pest with a camera" intruding upon their quality family time...
   
   
   "Nicolas", oil on canvas on panel, 40 x 30 cm
   
   
   
   "Loreto", oil on canvas on panel, 40 x 30 cm
   
   
   
   "Teresa", oil on canvas on panel, 28 x 21 cm
   
   
   One cannot help but think how a painter like Sargent could pull of something like "The Daughters of Edward D. Boit"-- that little girl in the foreground --!! how he managed to get a likeness with his brand of "shorthand" with the brushstrokes-- and having to work with such a young child as a model. Many other painters come to mind, for that matter, their "superhuman" powers of concentration, observation, and painterly dexterity that they needed to have to succeed in portraying children before the advent of photography. Simply amazing...
   I'd also been able to work out a few other small pieces prior to these head studies, all of them just to keep the old hand warm...
   
   
   
   "Bananas", oil on canvas on cardboard,  15 x 20 cm
   
   
   
   "Bottle", oil on canvas on cardboard, 21 x 15 cm
   
   
   
   
   
   "Old reliable", oil on panel, 27 x 35 cm
   
   
   
   
   
   
   
   
   
   
   
   
   
   

Diego, again...

Although my painting activity has been pretty much eclipsed by what I still have a certain reluctance in calling my "day job", I have, however, had the opportunity recently to execute a copy of a Velazquez -- his Coronation of the Virgin.

Coronation of the Virgin, c. 1642

Diego Velazquez, oil on canvas, 176 x 134 cm

Museo Nacional del Prado, Madrid, SPAIN

A symphony of reds, violets, pinks and blue set sublimely against a celestial backdrop of whites and bluish-greys, its composition is unsurpassed in stability and in its success in making the viewer´s eyes focus on what is probably the most breathtaking representation of the Mother of the Saviour in Western painting. 

Once again I was just dumbfounded and held in reverential awe everyday that I would study each detail of this piece taking in the genius of the painter from Sevilla and his unparalleled ability to render every single element using his particular brand of "shorthand". It was truly a very challenging and difficult task to copy the painting which, for me, is not just a slavish process of laying down the right shape of color in its proper place, but more importantly, to transmit as best as I can that character and "personality" of the brush marks as these are what differentiate one painter from another, their way of speaking.

The copy was executed for a parish church somewhere in Texas -- perhaps once it is installed in the church I will offer a link for its complete address. I did my version about 25% larger than the original as per request of the client, and on wood panel instead of canvas. Although I am very pleased with the result, I´m not really sure as to how the colors will read in your monitors and there is always a discrepancy with how it looks in person. In any case, this is my version, in its final frame. The painting measures 225 x 152 cm.

Notebook sketches, Pedraza

Pedraza is a small, medieval, walled village in the province of Segovia, northwest of Madrid. It sits atop a hill overlooking the rolling Castilian landscape.

It has a castle which is visible in the image above towards the right background. It was originally built in the 1300s, rebuilt in the 1500s and after a long history of change of owners, it fell into a sad state of ruin and was bought in 1926 by the painter Ignacio Zuloaga who renovated one of its towers and transformed it into his studio. It now houses a museum showcasing his work as well as Flemish still lifes from the 17th century, an El Greco original as well as one of Goya. Not bad as an attraction for a little-known village forgotten by time.

Ignacio Zuloaga Zabaleta

Spanish Basque born in Eibar, Guipuzcoa in 1870 and died in Madrid in 1945.

(With a name like that, it´s safe to say he was probably last in his class´ roll call)

He was a contemporary of Sorolla,  completely different in vision, style, and brushwork. The Valencian painter, I think, received more international acclaim and is always mentioned in the same breath as Sargent and Zorn. But we must´t overlook this artist from the same era-- here are some of his works:

I visited Pedraza the other day with family and was able to do some watercolour sketches in my notebook. It´s a pretty little village and definitely worth the visit if only for the castle and the medieval jailhouse.