Vertical Motifs

I just realised when looking at some of my recent paintings that there seems to be an inclination to be inspired by vertical motifs, so I have included a few here. The cypress tree was in a field near my home, and I liked its loneliness in the landscape. It is just a simple tree, and one you could probably find anywhere, yet it called out to me to paint it. I suppose I prefer a single tree over clusters, as it gives importance to the tree, as if it were a person standing there, day after day, under the sun. After about a half hour, some Bedouins came by with a flock of goats and sheep to look on, and I was happy to hear their compliments. I went to visit their farm the next day.

This next view is in the bedroom, an indoor tree, and I liked coming across it because of the water bottle and one of my prized possessions: the catalogue from the Antonio Lopez Garcia exhibition that I saw two summers ago in Boston. I hope one day to afford to get my hand on one of the major catalogues of his work.

The third painting is a start of a mini, flat light self-portrait. I find the challenge of going smaller and still trying to get forms and shapes right a good one. It is not finished yet in my opinion, but I have also received advice that I should leave it as is. I am not so sure, but I will share the start in case I move forward with it and hopefully not regret it! Today my roll of heat-activated adhesive arrived from Talas in the States, which means I will soon be able to move back to linen and larger sizes. The adhesive will allow me to safely and temporarily attach linen to supports, and this means I will be able to safely remove them for future travel purposes, a great relief when I think about the bulk of panels I have already covered in just a year.


7 thoughts on “Vertical Motifs

  1. Dear Rebecca,

    The colors in your paintings are wonderful, I spent a very relaxing time looking at them.

    If you don’t mind my asking, do you know of any art classes, especially painting, for complete beginners in or near Rehovot? I stumbled onto your page when I was searching for one.


    1. Dear Naya,
      I do not know of any courses in or near Rehovot. In jerusalem would be the school for which I work, not as a teacher, but I highly recommend it. I will slowly get back to teaching, but not so soon…

  2. hi Rebecca, all three are beautiful paintings. it is so difficult to decide when a painting is complete… for me it is sometimes dependant on what i intended. i also liked your stories, it tells another story of life in your part of the world from what is in the press:)

    1. Rahina, thank you again. Yes, the “end” of a painting is a terribly difficult thing to understand, but it is like the end of an expression. Maybe not a (.) but more a (:), like a link in a chain or a passing on to something or someone else. Sometimes I like to linger over things a little bit longer, so I shall see, for in the self-portrait I had another “final” image in mind, but it’s also okay to take a new direction mid-flight. Israel is a very special place, all very unexpected and yes certainly very different from the picture that the press provides. I was just at the Dead Sea last weekend for a visit to the Masada – breathtaking and poignant – and then a camel ride over to St George’s monastery, pleasing the Arabs by purchasing a necklace of beads. It was like a dip into the fountain of youth!

  3. I too have been trying to work smaller because I find it challenging to do so and still maintain a recognizable portrait. The advice you’ve recieved is right, don’t work on this further. Its done and its great. Better to end a painting too soon than too late and overwork it.

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