Largest collab to date 31 | Mar

Here is the largest collaboration to date for Nathan Durfee and Robert Lange

Little and Big 31 | Mar

Sometimes when I want to make a large scale painting, I just fake it in a little painting. This piece is only 8” x 8”

+ robert +

Another Show Piece 18 x 24 31 | Mar

Still in progress from Brett Schiefflee. Enjoy!

Only the good stuff. 31 | Mar



Right now I only want to focus on making work that evokes serenity, calm, levity, hope, peace, know, the stuff we need a little more of at the moment.

+ robert +

Fresh off the Easel 30 | Mar

“Sea to Shining Sea” just needs to be signed and varnished. I have a lovely frame to compliment it and then it’s off to the gallery for the Red Ribbon show!


Save the Date Kinda 25 | Mar

So you will most likely be home instead of drinking wine with us, we'll most likely be drinking wine at home too. Next Friday is still the First Friday Art Walk Watch and our artist Brett Sheifflee created an amazing body of work that deserves to be celebrated. Please view it on our exhibits page.

Here Are… 18 | Mar

...a few photos of my latest painting, "Write My Lines." -jb.

A Quick Glimpse… 18 | Mar

...into my studio through this progression of photos shows my easel and the process that defines my painting. The first block of photos is the first layer being completed. You can see the black and white reference photo that I used to sketch out shapes which will define the areas of light and dark. Then as I paint, I recorded the colors that I used for each element of the painting, in this case from background to foreground, or  from top to bottom. The color study is the tall skinny strip below the painting.

After completing the first layer, I take a break to simply look at what I've accomplished and decide where the painting needs to go (usually while working on another painting). Once I know, I sand the painting smooth to remove the brushstrokes while hopefully leaving as much paint as possible. Using the color study from the first layer, I mix the paint for the second layer, painting it over the first on the color study to see how the change will affect the painting. These shifts can often be minute, but they are extremely important to capture the realism of the scene.

Using this method, I am free to paint the second layer without much of a thought to color, which allows me to focus solely on tightening and refining the detail of the painting. Unfortunately internet colors and low resolutions don't do it much justice, but the details are there, and the shift from one layer to the next is often quite remarkable! I often feel the first layer is tight and restricted, a rough draft if you will, while the second pass allows me to be more intimate and flowing with the extra understanding the shapes and feel of the painting. A light glaze (a mostly transparent layer of paint suspended in a painting medium) adds to the foggy atmosphere of the painting and a varnish follow, which completes the painting in four layers. 

I hope you've enjoyed this small glimpse into my process, and thanks for following what we do! -jb.

Red Ribbon 12 | Mar

I'm so excited about this next group show. A bunch of amazing artists all making red ribbon pieces. Oooo it's going to be good! Opening in May.

Oh how I love these… 12 | Mar

Check new arrivals! 🙂


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