Ken Elliott Fine Art works in oil, pastel, monotype and signed, limited edition giclees.
Friday, November 22, 2013
Monet Filmed While Painting Water Lilies in Giverny
Click to view this film made in 1914 showing Monet being interviewed and painting at his home in Giverny.
Watch carefully and you can see how he takes in the subject, his brushes, palette and paint application. Surely this is not Monet working at full power with his immaculate white coat, but there is plenty to see here.
How did he ever keep from setting his beard on fire? The dangling ciggie ash creates a dramatic tension... it's an art film!
Enjoy this history. We are lucky to have this film of a master at work.
Wednesday, November 13, 2013
Grateful Notices: November 13, 2013
Heat in the back of the Forest, oil on canvas 48 x 60 inches
Private collection, Cincinnati, OH
Exhibited: Steamboat Springs Center for Visual Arts, CO
My grateful thanks to the buyers and the gallery involved. It is an honor to be exhibited and brought into someone's home.
This is a canvas that went through a lot of changes before reaching this final version. Last year it was a finished oil with a stand of all yellow trees with rounded tops. After viewing it for a few months, I decided the look was too uniform and less interesting.
At the end of my studio time one day, I put it up on the easel and used the left over paint from the day, completely eliminating the all yellow trees. Once they were obliterated, I added more paint and took it as far as I could comprehend. It took under an hour to completely change the look of the work and I called it a day.
For weeks after, I couldn't figure out how to finish it. A number of people came through the studio and it was always their favorite. I learned to go from 'Really?" to "Thank you." About 2 months passed with the oil in plain view every day.
While I was working on another oil, the solutions to this painting came to me. With a few changes and tweaks over the next 4-5 short painting sessions, the oil was complete. The process spanned two years, but at last I was happy with it.
The studio is very different without this big oil... I'll have to make more canvases with new problems and challenges.
Monday, October 21, 2013
New oils: October 21, 2013
Two new oils just completed:
As the Trees Glow
Oil on canvas, 48 x 60 inches. $9500 unframedThis oil was started some years ago and has been through numerous phases, all less than successful until this Fall. I learned a lot during the endless painting sessions here. The surrounding colors outside the studio window provided some of the dramatic solutions, but in the end it came from just being more courageous and paying attention to what the painting needed.

Snow on the Foothills
Oil on canvas, 20 x 60 inches. $4250 unframed
This was begun as a painting demonstration at my Denver art workshop earlier this year. I finished it just as the first real snow arrived in Denver last week. The painting quickly began to take on a glow and I stayed with it, increasing that effect. In the end, this simple composition became the place for hard contrasts and flowing chroma to take place.
It is interesting to see the heat and cool of these very different oils in the studio together.
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View more works On my website Sign up for my monthly art newsletter
Sunday, October 13, 2013
Wayne Thiebaud is one of my favorite artists and this article about artists getting older - much older, is worthwhile and hopeful. I just heard friends singing happy birthday to me just last week. It's an enjoyable ride! Ken
When Age Produces Beauty: Photographs of Legends at Work
Time Magazine, by Richard Lacayo, art critic and editor-at-large at TIME.
Eugene Richards is an award-winning American photographer. He was recently honored with a second Getty Images Grant for editorial photography.
September 12, 2013 This article with other artist photos
Time is rough on a lot of life pursuits. Athletes dwindle. Dancers pull tendons. Politicians? It varies. But artists, if they work it right, they ripen. Here’s Hokusai, the great Japanese painter famous for his Thirty Six Views of Mount Fuji, in the mid-1830s, puffing out his chest: “Nothing I did before the age of 70 was worthy of attention. At 73, I began to grasp the structures of birds and beasts, insects and fish, and of the way plants grow. If I go on trying, I will surely understand them still better by the time I am 86, so that by 90 I will have penetrated to their essential nature. At 100, I may well have a positively divine understanding of them, while at 130, 140, or more I will have reached the stage where every dot and every stroke I paint will be alive.”
Hokusai didn’t see 140, but he got to 89, and produced some of his best work in later life. That’s not surprising. While art history is full of greats who died early, the truth is that people who make careers of their creative urges more commonly live into a productive old age. For every Raphael or Van Gogh who disappeared in his 30s, there are dozens like Michelangelo and Titian, Degas and Monet, Hopper and O’Keeffe who combed gray hair, working all the while. Artists don’t think about retirement. They’re already doing what they always wanted to do.
With that in mind, earlier this year TIME commissioned Eugene Richards to visit a number of prominent American artists who were in their 80s or about to arrive there. Over 7 months he photographed them in their studios, homes and galleries. What follows are pictures from eight of those encounters, with John Baldessari, Mark di Suvero, Robert Frank, Robert Irwin, Alex Katz, Faith Ringgold, Betye Saar and Wayne Thiebaud.
Keep in mind that the work artists do late in life can sometimes rank among their most influential achievements. Titian is the great example. In his 70s and 80s he virtually invented free brushwork, a flurry of wild strokes that would unlock the firm contours of Renaissance painting and be adopted by artists from Velazquez and Rubens to the 20th century Expressionists. Then there’s Renoir. Over the last decade or so of his life he made scores of peachy, plump nudes. They look a little campy to us now but they fascinated Picasso and Matisse and helped them to rethink the human body. Two decades later Matisse, when Matisse was in his 70s and largely an invalid, he developed the cut-paper technique that led to some of the most powerful and delightful work of his long career – more than that, to a new way to signify pleasure. Having suffered two debilitating surgeries, maybe he just wanted to be the one in control of the blades. That’s another thing about the late ripening of artists, maybe the best thing. Every day, they can just pick up the old tools and take charge.
Friday, September 13, 2013
Grateful Notices: September 13, 2013
Fall Remnants, oil on canvas, 48 x 60 inches
(Exhibited: Madden Museum of Art, Denver 2012)
Collection of the Lawrence + Memorial Hospital in New London, CT
Via Boston Fine Art
Limited edition giclees were also purchased for the public spaces of:
Brookdale Senior Living, Highlands Ranch, CO
via Arch Framing
Gallagher North America, Kansas City, KS
via Artist Circle Fine Art
Thank you!
Thank you!
Thursday, September 5, 2013
Just Fun: The National Atlas Streamer Map
This photo traces Plum Creek near my home. That little stream flows all the way to New Orleans to get a jazz fix! So take a break and check this out - it's art, it's science and for those with inquiring minds.
The National Atlas Streamer Map
...something fascinating I saw posted at Fast Company Design web, and quoting from their site:
"Streams, like houses on city blocks, have addresses. They don’t have numbers, but the places they live are meticulously catalogued by the Department of the Interior. Their new interactive map Streamer is like Google Maps for creeks--click on any stream in the U.S. and make your way upstream to track its origin, downstream to discover where it deposits, or anywhere in between on its winding way.
The online exploration tool “allows people to learn a little bit about waters and outlets, and visualize the classic, ‘Drop a stick in a stream and see where it goes,’ idea,” says Jay Donnelly, editor of the National Atlas of the United States.
It took the National Atlas team 20 years to create the complete dataset of hydrology. The map makes clear two astounding feats of the country’s network of streams: The first, and more obvious, is the reminder that there’s an incredible amount of water flowing around us. The second is that streams travel extremely long and unpredictable distances. “I might think, based on my knowledge and geography, that when you are just a little bit outside Chicago everything is draining to Lake Michigan," Donnelly tells Co.Design, "when it actually drains into the Gulf of Mexico.” To wit, a huge swath of the map turns red when you visualize the tributaries in total pouring into the Mississippi River.
Donnelly envisions strengthening the map as it becomes a product of community input, building further topographical intelligence from feedback. “When MapQuest was built and introduced, it was very useful for going from point A to point B,” he says. “That was only the starting point. People wanted to add their own information. I think that’s where we’re at with Streamer.”
Streamer Map instructions:
The National Atlas Streamer Map
...something fascinating I saw posted at Fast Company Design web, and quoting from their site:
"Streams, like houses on city blocks, have addresses. They don’t have numbers, but the places they live are meticulously catalogued by the Department of the Interior. Their new interactive map Streamer is like Google Maps for creeks--click on any stream in the U.S. and make your way upstream to track its origin, downstream to discover where it deposits, or anywhere in between on its winding way.
The online exploration tool “allows people to learn a little bit about waters and outlets, and visualize the classic, ‘Drop a stick in a stream and see where it goes,’ idea,” says Jay Donnelly, editor of the National Atlas of the United States.
It took the National Atlas team 20 years to create the complete dataset of hydrology. The map makes clear two astounding feats of the country’s network of streams: The first, and more obvious, is the reminder that there’s an incredible amount of water flowing around us. The second is that streams travel extremely long and unpredictable distances. “I might think, based on my knowledge and geography, that when you are just a little bit outside Chicago everything is draining to Lake Michigan," Donnelly tells Co.Design, "when it actually drains into the Gulf of Mexico.” To wit, a huge swath of the map turns red when you visualize the tributaries in total pouring into the Mississippi River.
Donnelly envisions strengthening the map as it becomes a product of community input, building further topographical intelligence from feedback. “When MapQuest was built and introduced, it was very useful for going from point A to point B,” he says. “That was only the starting point. People wanted to add their own information. I think that’s where we’re at with Streamer.”
Streamer Map instructions:
After zooming in, select a trace button to Trace Downstream or Trace Upstream. Trace Downstream is selected by default when the application starts.
Click on a stream to trace it. View a summary of trace results in a pop-up window by hovering over the trace origin marker, a red circle. Click Clear Map to clear your trace and start over.
Click Trace Report to create a Summary Report or Detailed Report for your selected trace. Reports pop up as a new web page.
A map and a trace summary are included in the Summary Report (example). The Detailed Report (example) extends the Summary Report with an itemized list of hydrographic and political feature names that your trace intersects.

Click on a stream to trace it. View a summary of trace results in a pop-up window by hovering over the trace origin marker, a red circle. Click Clear Map to clear your trace and start over.

Click Trace Report to create a Summary Report or Detailed Report for your selected trace. Reports pop up as a new web page.
A map and a trace summary are included in the Summary Report (example). The Detailed Report (example) extends the Summary Report with an itemized list of hydrographic and political feature names that your trace intersects.
Monday, September 2, 2013
New Oil: Evening Cloud Layers
Evening Cloud Layers
oil on canvas, 30 x 30 inches
This is an oil that I started when teaching the art class at the Madden Museum with Casey Klahn this summer. I'm very happy with the layering of the color and the variations of color and brightness. This work was 'good enough' a number of times, but I continued to take it further. I would be convinced it was done after a painting session and the next day it just didn't thrill. After a few more days of large and small moves, it continued to please and it was declared finished.
It was one of those paintings I could continue to tinker with but it took it as far as I want it to go. I'll use this oil as a launch for a much larger version. I always learn with every canvas and I'm looking forward to seeing where this composition takes me next.
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