VIEW IN MY ROOM
United States
Painting, Gouache on Paper
Size: 14.5 W x 20 H x 0.1 D in
Ships in a Tube
Commissioned by Ladybug magazine in 2019 to accompany a children's nursery rhyme in the pages of that long-running magazine, this nostalgic landscape is painted on high-quality, textured cold-press artist paper. It is ready to frame.
Painting:Gouache on Paper
Original:One-of-a-kind Artwork
Size:14.5 W x 20 H x 0.1 D in
Frame:Not Framed
Ready to Hang:Not applicable
Packaging:Ships Rolled in a Tube
Delivery Time:Typically 5-7 business days for domestic shipments, 10-14 business days for international shipments.
Handling:Ships rolled in a tube. Artists are responsible for packaging and adhering to Saatchi Art’s packaging guidelines.
Ships From:United States.
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United States
A lifelong love of literature, research, and art is the heart of my work as an illustrator. I’m convinced that “a studio is a place of study,” as designer Bruce Mau phrases it, so before I paint, I read, research, and learn. Every illustration project is an excuse to study! I paint with gouache, watercolor pencil, acrylic, watercolor, sometimes bringing in pastels, graphite or ink. For inspiration and instruction, I often study medieval portraiture, landscapes by Alice and Martin Provensen, William Morris textile designs, vintage songbooks, Carl and Karin Larsson interiors, Norwegian rosemaling, postwar fashion illustration, Pennsylvania Dutch motifs, Mary Cassatt portraits, folk embroidery, the Scandinavian cookbooks of Beatrice Ojakangas, midcentury typography, L. S. Lowry’s cityscapes, and everything I can find by the children’s illustrator Aurelius Battaglia. In terms of style and technique, the way I draw and paint has probably been informed by my study of the Provensen’s landscapes, as well as those of Anna Mary Robertson (Grandma) Moses. I’m intrigued and inspired by the disquieting paintings and drawings of Remedios Varo, Monika Beisner, Gertrude Abercrombie, and Adrienne Ségur. (I could look at their wonderfully weird work for hours!) I would also say that Golden Age fairytale illustrations, as well as picturebooks of the 1950s-1970s, have had an effect on how my artwork looks. And as a child I loved the graceful drawing style of cartoonist Lynn Johnston, so it’s likely that her nimble and fluid linework, like that of the great illustrator Trina Schart Hyman, has influenced my work in some subtle way, as well. Literature, too, has had a profound effect on both my writing and painting, with the Brontë sisters, Daphne du Maurier, and Shirley Jackson shaping my aesthetic in a powerful way. My thinking and my work have also been informed by zines, the verse of poet Christina Rossetti, and British 18th- and 19th-century epistolary novels. When I draw and paint, I choose objects I find fascinating, beautiful in form, or potentially meaningful. Sometimes I simply paint things I love. (For example, vintage dishware and linens, early American furniture, lace patterns, historical costume, and Swedish breads!) Frequently, I choose subjects that I think will offer me a rewarding technical challenge. Have you ever been so scared to draw a wicker chair that you put it off for three days? I have! But then once I began in earnest, I loved it.
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