So I'm a little embarrassed to announce it, but I've been asked back to Paris to care for the same cat. I had just booked a show for my French work for December at the Memphis Botanic Garden when I got the invitation, and it seemed too good to pass up.

It's marvelous as an artist going back to a familiar place. I already have the feel of Paris, know roughly how I want to paint it, and I have a list of places I either wanted to paint but didn't get to, or places I want to return to and paint more. The paintings in this blog post are all from the Rodin Museum garden, which falls into the latter category.

I feel blessed to have a great housemate just now, which gives me the freedom to travel and not worry about home. So I'll be posting new Paris paintings starting the middle of next week.

Sorry I've been gone from here for a few days. It was crazy busy in Cape May, and the internet access was less than stellar. I'm now home and trying to catch up on everything.

I know a number of artists, many in the Memphis Urban Sketchers group, who are great about keeping personal sketch books. I've mostly painted on watercolor blocks instead, so I can exhibit the work I'm pleased with. However, I'm starting a new chapter in my life this year, and I decided to keep a sketch book of my summer to mark that transition. It's been fun to have it with me on my travels.

I started it in St. Louis a few weeks ago, when I went to the Twelfth Night production in Forest Park (above) and Circus Flora (below).

I also took it to Cape May. I was crazy busy doing watercolors for them most of the week, but the last couple of nights, I took a little time to paint for myself. Below is the view from the porch of my hotel, where I sat out for a bit most evenings to play banjo, relax, and watch the moon rise.

The great thing about a sketch book is that it is NOT intended for exhibition, so an artist is freer to play with materials and styles. I do think I get too tight when almost all of my work is possible show material. I really enjoyed playing with the idea of of doing part of a sketch in color but leaving parts of the drawing in just pencil as well. This isn't a style I'd worked in much in the past, and I had a lot of fun. I hope to keep playing with it.

My last night was up there quite near the full moon, and the moonrise over Victorian homes and power lines caught my eye as I was out for a walk. I put my butt cushion down on the sidewalk, up against a store front, and painted with the light shining out of the shop window to work by.

I'm noticing how much of the sketch book is about the moon. I seem more and more drawn to it each year. Below is a very quick sketch of the moon as I glimpsed it out the window before dawn the night of the super moon. I did the sketch from memory the next morning after I woke up for good and found the image was still dancing in my brain.

This was one of my favorite buildings in Paris. It's overdone and very Baroque, which is not usually my taste, but the form of it is lovely, with its aqua dome, and it's so delightfully playful that I liked it very much. I sat outside and painted it from across the street first. It's on a busy plaza, and I had trouble finding somewhere I could work. Then a bus stopped in front of me for a good ten minutes. I had done everything possible from memory and was just thinking I would need to move when it finally turned on its engine and took off. The trials of sidewalk painting.

I hadn't been inside the Opera until my friend Caroline joined me, but I liked it so much that I went back to paint the day she took the train out to Versailles. I painted from the balcony down into the plaza below.

And halfway through that one the sun got to me, so I took a break and painted the inside lobby before finishing from the balcony.

I also ran across an outside performance walking home one day and stopped to paint that as well. I was amazed at how easily the street musicians move full pianos around the sidewalks of Paris.

It was cloudy a lot while I was in Paris. There were days I'd planned to go to a museum, and if the sun came out suddenly, I would change gears and paint to take advantage of it. And there were certainly days when I walked out hoping to paint something particular and ended up in a museum instead for lack of light. Overall, I found a great balance of seeing art and making my own. I'm happy with the crew of paintings I brought home. There are only a couple I really wanted to do and never quite got the chance to.

One day it was cloudy, and I was planning to go to the Musee d'Orsay, but when I got downtown, it was MISTY instead. Delicate, transporting, mysterious. I spent the morning doing three quick watercolors. I never left the apartment that trip without my art gear, and on this day I was particularly grateful.

I'm in the process of scanning in the watercolors from my French trip. The scans are much clearer and brighter than the snapshots I posted while I was traveling, so I'll repost the paintings as I get them scanned in.

I loved painting along the Seine. Walking up and down the river and across the bridges was one of my favorite parts of being in Paris. I enjoyed painting from the bridges and along the river. I wish I'd had time to do the fabulous old train station that now houses the Musee d'Orsay, but hopefully another trip will let me do that.

Below is the Grand Palais, which is a lovely birdcage of a building that rises up along the skyline.

This last one was done on the bridge between Ile de la Cite and Ile St. Louis. I loved that spot, which often had musicians busking. This is a quick one, done in a hurry before dinner and trying out my new waterproof ink with the paints. I treated myself to a new Lamy fountain pen to remember the trip and to house a different kind of ink than I normally use while sketching.

It's been nuts since I got home. I had a couple of nights back, and then I left again for a dance weekend with my sisters. I loved spending time with them after being gone for a month.

I hung out with awesome women (that's one of my sisters front and center):

danced to my favorite band with friends (and sisters, though no one got a shot of that):

and got dipped a few times:

Now I'm back to work. I was supposed to be in Cape May this week painting for Cape Resorts Group again, but bad weather cancelled my flight. So I have a little time to do some commissions here, catch up on my sleep, and get up there in the next few weeks more rested and ready to go at full speed. Overall a very good thing.

I've been quiet here lately as I frantically get ready for a month in France. One of my wonderful new sisters set me up to pet sit for three weeks with a friend of hers in Paris, and I'll spend one more week traveling the countryside somewhere. I leave this morning, and I've got copious sketch books packed, along with watercolor and pen and ink. I've never been to France at all, and I'm thrilled to have this chance to see the art there, see the churches and gardens, and make some of my own art as well.

In the meantime, here's a watercolor I did this week at Dixon Gardens with the Memphis Urban Sketchers.

I know artists who always have a sketchbook with them, and I've never been that organized. Thanks to the influence of the Memphis Urban Sketchers, however, I'm working on being prepared and have a tiny one in my purse now (assuming I'm carrying that...).

Recently it's paid off, and here are two quick tree studies from (moderately) recent trips. One the left is yet another stunning tree in Tower Grove Park in St. Louis. On the right is a pine from the parking lot of the dance weekend I went to in Chattanooga, TN. I probably would have finished the top part a bit more, but it was raining lightly as I worked, and I finally called it a day.

 I finally got my second batch of prints photographed by David Nestor, who takes photos of all my work that is too large to fit on my scanner. It's nice to have good images to put up on the website. I know I've shared these here in progress via bad snapshots I took myself, but here's the second set of color prints as they should be seen.

Each of these is on 14x22" paper, and they are all priced at $140 each (the three color price), except the Elmwood print, which as only one block to carve and one printing, is $115.

I've got two more prints in progress, so watch this space for more, but first I'm going to go dance in Epiphany at the Chattaboogie dance weekend. I'll be back on Monday to dig in seriously and get back to work. Y'all have a great rest of the week!

All the work I've done for Cape Resorts Group in Cape May is being used by Stella Bean advertisers. They are building a new website for the group that incorporates my paintings, but Kevin Philip is also creating fun extras, like e-cards to send out for the holidays.

Below is the storyboard for the Congress Hall one, which uses three of my watercolors to make an animated card. You can flip through the document below to see the progression, and you can follow these two links to watch the full e-cards.

http://www.pebagraphics.com/cape/

http://www.pebagraphics.com/virginia/