Category Archives: Pastel Painting

Q: What’s on the easel today?

Work in progress

Work in progress

A:  For nearly two weeks this pastel painting, “Majordomo,” has been on “pause” due to the corona virus.  I’m able to work on it now sporadically.

Comments are welcome!

Start/Finish of “Avenger,” Soft Pastel on Sandpaper, 58″ x 38″

Start

Start

Finished and signed lower right

Finished and signed lower right

Comments are welcome!

 

Q: What do you enjoy most about being an artist?

With “Majordomo,” soft pastel on sandpaper, 20” x 26”

With “Majordomo,” soft pastel on sandpaper, 20” x 26”

A: This is a question I enjoy revisiting every so often because life as an artist does not get easier; just the opposite, in fact.  Visual artists tend to be “one man bands.”  We do it all notwithstanding the fact that everything gets harder as we get older.  So it’s good to be reminded about what makes all the sacrifice and hard work worthwhile.

There are so many things to enjoy!  I make my own schedule, set my own tasks, and follow new interests wherever they may  lead.  I am curious about everything and am rarely bored.  I continually push my pastel technique and strive to become a better artist.  There is still so much to learn!  

My relationship with collectors is another perk.  I love to see pastel paintings hanging on collectors’ walls, especially when they’re newly installed and the owners are excited to take possession.  This means that the piece has found a good home, that years of hard work have come full circle!  And it’s often the start of a long friendship.  After living with my pastel paintings for years, collectors tell me they see new details never noticed before and they appreciate the work more than ever.  It’s extremely gratifying to have built a network of supportive art-loving friends around the country.  I’m sure most artists would say the same!

Comments are welcome!

Q: What’s on the easel today?

Work in progress

Work in progress

A:  “Majordomo,” 20” x 26,” soft pastel on sandpaper, is coming along.  After today’s studio session, I will put it aside and add finishing details when I am able to see it fresh again.  I‘ve been looking at this piece too long to know what else it needs now.

Comments are welcome!

Q: You have worked with twenty-plus galleries during your career. Which ones do you consider the best?

"Myth Meets Dream," 1993, soft pastel on sandpaper, the earliest painting that includes Mexican figures

“Myth Meets Dream,” 1993, soft pastel on sandpaper, the earliest painting that includes Mexican figures

A:  Probably the most prestigious gallery that represented my work was Brewster Fine Arts on West 57th Street in Manhattan.  Brewster was my first New York gallery.  In the summer of 1996 I mailed the gallery a sheet of slides, as we did in those days.  I was living in Virginia and had been a working artist for ten years.  In July while traveling around Mexico, I decided to check the phone messages at home in Virginia.  I was thrilled to receive an invitation from Mia Kim, the gallery director, to exhibit pastel paintings in October!  And she had not yet even seen my work in person.

Beginning that fall, I gained representation with Brewster Fine Arts, an elegant gallery specializing in Latin American Masters like Rufino Tamayo, Diego Rivera, and others.  I am not Latina, of course, but I showed there due to my subject matter.  At my October opening, I remember Mia declaring to the attendees, “Barbara has the soul of a Latina!”  That night I met fellow gallery artist Leonora Carrington. She and I were the only non-Latina artists respresented.  I knew I was on my way! 

The gallery continued to present my work in group exhibitions and the staff gave brilliant talks about me and my creative process.  For many years whenever I introduced myself to a new art aficionado, they already knew my work from having seen it at Brewster.  I continued to be represented there until the gallery closed years later.

Also, Gallery Bergelli in Larkspur, CA did an excellent job of representing my work.  I applied for one of their juried exhibitions, was accepted, and afterwards, they offered permanent representation.  Soon they introduced me to one of my best collectors, with whom I am still friends.

I have worked with many galleries, some good, some not, for various reasons.  Ours is an extremely tough business.  Unfortunately, many of the best and formerly-great galleries are gone forever.   

Comments are welcome!   

Start/Finish of “Schemer,” Soft Pastel on Sandpaper, 26” x 20”

Start

Start

Finish

Finish

Comments are welcome!

Pearls from artists* # 389

Henri Roche pastels: nine trays (four at the top, five on the bottom).

Henri Roche pastels: nine trays (four at the top, five on the bottom).

* an ongoing series of quotations – mostly from artists, to artists – that offers wisdom, inspiration, and advice for the sometimes lonely road we are on.

Color vision must be universal.  The human eye and brain work the same way for nearly all people as a property of their being human – determining that we all see blue.  But the color lexicon, meaning not merely the particular words but also the specific chromatic space they are said to mark, clearly has been shaped by the particularities of culture.  Since the spectrum of visible colors is a seamless continuum, where one color is thought to stop and another begun is arbitrary.  The lexical discrimination of particular segments is conventional rather than natural.  Physiology determines what we see; culture determines how we name, describe, and understand it.  The sensation of color is physical; the perception of color is cultural.

David Scott Kastan in On Color

Comments are welcome

Q: What is your favorite thing about creating on sandpaper? (Cassandra Alvarado Oliphant via Instagram)

Ready to start

Ready to start

A:  Undoubtedly, I could not make my work without UART sandpaper since my entire pastel technique evolved around it.   I use 400 and 500 grit.  My favorite thing about it is its ‘tooth’ (i.e. texture or roughness). 

Over the many months I spend creating a painting, I build layer upon layer of soft pastel.  Because this paper is relatively “toothy,” it accepts all of the pastel the painting needs.  And as many people know, I own and use thousands of soft pastels!  

Many layers of soft pastel and several months of studio time go into creating each painting.  My self-invented technique is analogous to the glazing techniques used by the Old Masters, who slowly built up layers of thin oil paint to achieve a high degree of finish.  Colors were not only mixed physically, but optically.  

Similarly, I gradually build up layers of soft pastel, as many as thirty, to create a pastel painting.  After applying a color, I blend it with my fingers and push it into the sandpaper’s tooth.  It mixes with the color beneath to create a new color, continually adding richness, saturation, and intensity to the piece.  By the time a pastel painting is finished, the colors are bold, vibrant, and exciting.

Comments are welcome!           

Pearls from artists* # 387

Barbara at work on “Schemer,” Soft Pastel on Sandpaper, 26” x 20”

Barbara at work on “Schemer,” Soft Pastel on Sandpaper, 26” x 20”

* an ongoing series of quotations – mostly from artists, to artists – that offers wisdom, inspiration, and advice for the sometimes lonely road we are on.

You know, you don’t go into the studio and say, “Oh, here I am this marvelous heroine, this wonderful woman doing my marvelous painting so all these marvelous women artists can come after me and do their marvelous painting.”  There you are alone in this huge space and you are not conscious of the fact that you have breasts and a vagina.  You are inside yourself, looking at a damned piece of rag on the wall that you are supposed to make a world out of.  That is all you are conscious of.  I simply cannot believe that a man feels differently… Inside yourself, you are looking at this terrifying unknown and trying to feel, to pull everything you can out of all your experience, to make something.  I think a woman or a man creating feels very much the same way.  I bring my experience, which is different from a man’s, yes, and I put it where I can.  But once that is done, I don’t know if it is a woman’s experience I’m looking at.

Grace Hartigan quoted in Ninth Street Women by Mary Gabriel

Comments are welcome!

Q: How long did it take you to discover the properties of pastel? (Liliana Mileo via facebook.com/BarbaraRachko/)

A charcoal self-portrait from 1988

A charcoal self-portrait from 1988

A:  After I moved to Alexandria, Virginia in the mid-1980s, I began taking classes at The Art League School.  I was extremely unhappy with my career as a Navy Lieutenant.  I worked as a computer analyst for the Joint Chiefs of Staff at the Pentagon and was searching for something more meaningful to do with my life.

I began with a basic drawing class and liked it.  I enrolled in more classes and decided to spend two years working exclusively in black and white media, such as charcoal and graphite, before advancing to color.  Fortunately, early on I found an excellent teacher in Lisa Semerad.  I remain deeply grateful for the strong foundational drawing skills she imparted to me during this period.

After two years I tried water color and soon discovered it was not for me, a perfectionist who needs to refine my work.  Then I tried etching and found it extremely tedious, the antithesis of instant gratification.

Finally I began studying soft pastel with Diane Tesler, another gifted teacher, and fell in love with this medium!  At The Art League School I also completed a one-week workshop with Albert Handell, who introduced me to the archival sandpaper that I have been using ever since.

While I fell in love with pastel three decades ago, I continue to learn about its unique properties.  I am pushing pastel to new heights as my techniques continually evolve.  This is a lifetime journey of learning.  I hope to never know all there is to know.

Comments are welcome!  Ask anything and I may answer in a future blog post, as you’ve seen here with Liliana’s question.

 

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