Michael Hampton

Thank you Therien!

2011-11-13T11:39:00.000-08:00

Thank you to my friend, Philip Bewley, at Studio Workshops by Therien in San Francisco for featuring my watercolors in their fabulous Sunday series. It is truly an honor for me to have my paintings recognized by such an extraordinary company, who's reputation for the finest antiques and bench made furniture is world renowned.

For many years now, Therien has been a treasured source to me for inspiration and for the most exceptional and unique antiques and accessories.

L'Amour Fou

2011-10-08T06:50:00.000-07:00

For those of you who are fascinated by the partnership of Pierre Berge and Yves Saint Laurent like I am, then you need to see L'Amour Fou, which has recently been released on Netflix. This fascinating documentary also gives an exclusive look into the extraordinary, rarified collection of the art, furniture and objects that the two had amassed together in just 20 years and the subsequent sale through Christies. I found myself in awe of Pierre Berge and his understanding within himself that it was time to let go of their collection soon after Monsieur St. Laurents death in 2008.

Timeless Rooms of the Past and Present

2011-09-22T09:11:00.000-07:00

It has been a long time since I have posted some of my favorite interiors so I thought I would include some of my favorites from the past and the present. Perhaps some of them are familiar to you but hopefully there are many rooms you have yet to see. These rooms represent a small fraction of the many others that have inspired me over the years. Hope you enjoy them as much as I do.

This exquisite sitting room from the thirties is typifies the work of Elsie de Wolfe's glamourous and feminine rooms. It's gleaming mirrors, pale walls and painted furniture with soft blue fabrics reads as fresh as ever.

Another example of a glamourous but not over the top bedroom by Frances Elkins. I have always dreamt of being able to do silver leaf walls in this manner.

The apartment above designed by Jean Michel Frank in 1937 for Nelson Rockefeller in New York represents some of his finest work.

Pink has never been one of my favorite colors. But this shade of the palest pink has made me reconsider. Designed by Harrison Cultra who sadly died from AIDS in 1983. He was one of the greatest and I try to imagine all of the beautiful rooms he would have created if he was still with us.

The London drawing room of Evangeline Bruce designed by John Fowler. The egg yolk yellow walls, Aubusson rug and relaxed comfort of the room are pure John Fowler.

It is impossible for me to pick my favorite room by Albert Hadley, but this one is at the top of my list. The daring green of the lacquered walls, which were clearly inspired by the Kenneth Noland painting exemplify what Mr. Hadley does best. Which is a confident mix of styles including modern art and a variety of furniture from France, Morocco and England. If I lived in this room I wouldn't change a thing except for the flowers.

A room by the dean of design, Van Day Truex. Relaxed and honest elegance is how I would define his work and what makes his rooms some of the most timeless and my personal favorites.

From my early years in San Francisco I have to include one of my favorite rooms by Anthony Hail, who's work and classic style has been such a big influence in my own work. The salmon colored walls are an unusual but quite English. Even though the room is filled with Danish and French pieces.

The three above images are some of the chicest and most beautiful rooms designed by late California designer, Kalef Alaton. All of his rooms can be characterized as restrained opulence. He loved creating spare architectural backdrops to showcase his selections of museum quality furniture and sculpture. Like Michael Taylor, Kalef Alaton loved big scale and occasional grand gestures but his work was not as inspired by nature as much as Michael Taylor's.

Rooms above by Jed Johnson, another incomparable designer, who was taken away from us way too early. Refined elegance describe all of his work whether it was a grand New York apartment or a beach house in the Hampton's. And he was fluent and confident in any style from Art Deco to the craftsmen style.

I can never get this room out of my mind. When I think of Provence I dream of this room by Francois Catroux. I adore the concrete floors inset with a pattern of smooth river rocks. Proof that you can take something so organic and simple as concrete and stone and make it chic and completely appropriate for this house.

A beautiful and rarely seen room by Michael Taylor, which was freshened up in 2008 by the one and only designer who could, Suzanne Tucker of Tucker and Marks, who is another one of my favorites in San Francisco.

Vicente Wolf's work never fails to excite me. His spaces are always filled with fascinating juxtapositions of different forms and periods from all over the globe. The steel canopy bed mixed with a gilded baroque style headboard exemplifies his confident yet approachable style.

For years I have dreamt about living one day in a really amazing barn inspired house. Designer, Nancy Braithwaite, has perfectly combined the rustic barn like wood tray ceiling, with the refined and simple colonial style painted paneling. I love every single element in this room from the linen slipcovered wing chairs, to the stone floors and iron chandelier.

This is my kind of beach house by another favorite, Thad Hayes.

Magical and beguiling are two of the first words that come to mind when I think of rooms by the former dynamic duo of Sills and Huniford. But I am still enchanted by their individual work. The Russian mirror over the mantle is one of the most beautiful and unusual mirrors I've seen.

One of the reasons why I admire the work of Houston's, J. Randall Powers, is that is has clearly been inspired by the work of Kalef Alaton. The architectural foundations of most of his rooms lean towards elegantly spare, which create a beautiful stage for his love of furniture with strong forms.

Designer, Veere Grenney's Victorian apartment in London. Love the dining table, chairs and antiqued mirror.

There is a consistency to all of David Kleinberg's interiors that I am always drawn to. Whether he is creating something formal or relaxed. It is his understanding of quality, history and a natural knack for mixing old and new. His years of training with Parish Hadley shine through in all his work.

Miles Redd is a master colorist in my mind. His brave combinations of colors always work, resulting in fresh, glamourous and exciting rooms that are always rooted in history.

For an LA showcase house designer Windsor Smith captured the far flung exoticism of distant places in this master bedroom. It is a soothing and tranquil bedroom filled with wonderful textures including linen, cowhide, velvet and silk. Her idea of using the brass trays as art is genius and makes a very unique statement.

Clean, strong classicism are the hallmarks of Brian McCarthy's tailored rooms. The cowhide rug brings down the potential seriousness of the room and adds unexpected warmth. And the pop of red brings a jolt of life to an otherwise somber palette.

Who said a gentlemen's dressing room cannot be glamourous. Jeffrey Bilhuber's Manhattan dressing room could go on the feminine side but the rich green and grays of the chinoiserie wallpaper along with the sisal give it a more masculine feel. The splashes of gold resin by artist Nancy Lorenz add an unexpected surprise, which is so typical in Mr. Bilhuber's work and always makes his interiors witty and never too serious.

Sitting room by Jeffrey Bilhuber, another master colorist.

A luxurious and chic living room, also by Bilhuber.

I have been following the work of Steven Gambrel, who's rooms are always fresh, stimulating and comfortable. Like Miles Redd and Jeffrey Bilhuber he is unafraid of interesting combinations of color.

Pablo Bronstein

2011-09-09T06:52:00.000-07:00

After recently discovering the art of London based artist, Pablo Bronstein, I have been obsessed with his work. Considering my passion for architectural watercolors I am fascinated at his dream like imaginings of classical architecture. His work immediately brings to mind the fanciful neo- baroque designs of Emilio Terry, who I have admired for many years now. Be sure to check out his past exhibit at the Met in New York.

La Petite Maison de Cucuron

2011-08-15T20:08:00.000-07:00

For our last night in Provence we decided to treat ourselves to an extraordinary meal at an extraordinary restaurant. Located in the charming and picturesque village of Cucuron, La Petite Maison has long had a reputation as one of the finest restaurants in Provence. Before we even entered the restaurant we knew that we were destined for a special experience. The exterior defines the relaxed beauty of Provence and inside was pure refinement and elegance.

The postcard perfect exterior of the restaurant.

Our tables awaits! The rooms felt like one was stepping back in time with the beautiful 18th century mirror and drop leaf tables. With the exception of a very few recessed lights the rooms and tables were illuminated by candles and lamps.

A gorgeous and simple arrangement of Lilies of the Valley, which flourish in the late spring months. With a stunning and enormous backdrop of an 18th century painted canvas that resembled tapestry.

A Trip to Bountiful

2011-07-12T19:22:00.000-07:00

I recently returned from the Bay Area in California, which is where I am from, and was able to spend some quality time with my closest friends and family. On one of our excursions to the coast, my friends and I visited the some of the areas around Point Reyes and found ourselves wandering amongst the most beautiful of old farms overlooking the sea, which is now owned by the state.

The blue sky was veiled with a thin layer of fog. We walked with the cool ocean breeze at our backs and the ethereal, pastel colors of the moss, wood and grass all around us.

Villa Kerylos- The Entry

2011-06-16T15:25:00.001-07:00

View of the Villa from the Villa Ephrussi de Rothschild

During my recent visit to the Cote d' Azure in the south of France, the highlight and most memorable experience for me was visiting the Villa Kerylos in Beaulieu-sur-Mer. It had been a long time dream of mine for many years. My fascination with the Villa began when during my San Francisco days I was working on an amazing project with my former boss, Steven Volpe. I had gone to one of our restorers and as I arrived I noticed that they were unloading a set of the most remarkable and beautiful chairs I had ever seen.

It turns out the set of Klysmos chairs were from the Villa Kerylos and had been acquired by the the extraordinary antique dealer Therien and Company. Since we were looking for dining chairs for our project I immediately picked up the phone and called Steven to tell him about these wonderful set of chairs. The next day we had purchased them for our client and they looked perfect in her dining room. So that is where my fascination began for the Villa.

The Villa Kerylos was built for Theodore Reinach (1860-1928) who was a French archaeologist, mathematician, lawyer, papyrologist, philologist (study of language), epigrapher (study of inscriptions), historian, numismatist (study or collector of currency), musicologist, professor and politician. Whhheeeww, how someone can achieve all of that in their life is quite amazing!

He hired the architect Emmanuel Pontremoli to design a replica of a Greek dwelling right on the very edge of the sea. The villa was built between 1902 and 1908 and before even stepping inside it is very clear that no expense was spared for creating a truly authentic greek home. In 1928, after Reinachs death, he beqeathed the Villa to the Institute of France.

So let's begin our tour by starting in the entrance hall of this magnificent home.

Detail of the front door with the bronze knocker

Steps leading to the entry to the Villa

Detail of the mosaic floor. The rooster mosaic is I believe from the 2nd century b.c.

The richly decorated plaster walls

Bronze snake on marble and bronze console

Colors of Provence

2011-05-16T16:58:00.000-07:00

There is no better place in Provence then the farmers markets to see the bounty of food and flowers that are grown in this glorious region of France. Wandering through the markets is a feast for all of your senses. From the brilliant colors of the spices to the freshness of the produce it is a foodies dream come true. The air is perfumed with lilies of the valley and the most perfect peonies you have ever seen. I must admit that the selections are a bit daunting so it definitely helps to have an idea of what your looking for. But between the selections of meats, cheeses, fruit and vegetables would surely inspire a menu.

One of the best Provencal markets is the one in the town of I'Isle sur la Sorgue located in the heart of the Luberon Valley. It takes place on Thursdays and Sundays. The crystal clear waters of the Sorgue river runs right through the center of town and the market meanders along the river's edge making the most charming and romantic of settings.

I'Isle su la Sorgue is also well known for it's many antiques dealers. After spending most of the morning perusing the market we barely had enough time to even scratch the surface of visiting the dealers. But to be honest I was not very excited by the selections and I found everything to be overpriced. I don't think there are any more bargains left in Provence.

My good friend, Dwight, who is a brilliant floral designer with his bounty of peonies and lilies from the market.

Pots of Lilies of the Valley (One of my favorites)

Marzipan pears

Gorgeous artichokes

More marzipan

Luscious tomatoes

The perfect peonies

An assortment of spices

Purple garlic

The most beautifully colored salt

Pastel colored soaps (love the boxes too)

Ranunculas is every color

Baby asparagus (Great for flower arrangements)

Squash blossoms just waiting to be filled with chevre and herbs

Off to Provence

2011-05-01T12:38:00.001-07:00

Were off to the Cote d'azure and Provence and will return with many photos and travel stories to share.

Thanks Elle.com

2011-03-23T08:24:00.000-07:00

Thank you for Elle.com for featuring one of my paintings from the Chinese porcelain series. It is really fun to see how they compared the painting to the beautiful blue and white dress they featured. As they say art often inspires fashion.

Chinese Ceramics Illustrated

2011-02-02T06:24:00.000-08:00

Recently, I came across an amazing book on the history of Chinese ceramics through the ages. The beauty of the various pieces inspired me to recreate a selection of them in watercolor. The paintings began as small studies that I did on small, square sheets of handmade paper from India. My intention was to do larger versions but I found that I really enjoyed painting them in a smaller size so I decided to move forward and create a whole series. Each piece will be framed individually in a deep silver leaf molding and the painting itself will be floated on acid free paper with spacers. I am having one framed right now as a sample before I move forward with the rest.

What I love about many of the pieces is their modernity and simplicity of form. As well as the refinement of the various glazes.

Each painting will be available for sale so please let me know if you are interested in pricing.

Eastern Han Dynasty, green glaze pot. 206 BC - 220 AD

Eastern Jin Dynasty, blue brown glaze spotted jar. 317 - 420

Ming Dynasty, lidded jar in rivaling colors. 1368 - 1644

Neolithic Age, colored pottery pan. 3200 - 2700 BC

Neolithic Age, colored pottery striped vase. 4000 - 2000 BC

Neolithic Age, red pottery double handled jar. Qia Jia Culture- 2400 - 2000 BC

Qing Dynasty, crab shell blue glaze vase. 1644 - 1912

Song Dynasty, Black Flowered Vase. 960 - 1279

Song Dynasty, carved flower vase. 960 - 1279

Song Dynasty, Big Vase. 960 - 1279

Tang Dynasty, exclusive imperial eight facet vase. 618 - 906

Western Jin Dynasty, blue glaze double eyed pot with holes. 265 - 316

Western Jin Dynasty, footed washing vessel. 265 - 316

Western Jin Dynasty, blue glaze jar of net patterns. 265 - 316

Tang Dynasty, tricolor plus blue small vase. 618 - 906

Qing Dynasty, Lang kiln red glaze vase. 1661 - 1722

Qing Dynasty, Qianlong reign, zun vase. 1736 - 1795

Ming Dynasty, Zhengde reign, peacock green glaze bowl. 1368 - 1644

Chinoiserie for Dinner Anyone?

2011-01-13T06:40:00.001-08:00

The great architectural watercolorists and historians, Andrew Zega and Bernd Dams, have a fabulous new feather to add to their talented caps. Porcelain! For all of you fellow chinoiserie enthusiasts you will nearly faint when you see their new collection of porcelain that they designed for Bryn Reese Fine China . It is the perfect marriage of architectural and decorative elements that Zega and Dams are well known for, combined with the exquisite and refined quality of Bryn Reese China. Think of the beautiful tables one can set with the collection.

Sandra Jordan Collection

2011-01-10T05:11:00.000-08:00

Whether I am designing an entire house or just a single room I am always looking for something special that will really take the space to another level and make it more luxurious. I am drawn to understated luxury in a room with elements that exude refinement and elegance. Sandra Jordan's line of Prima Alpaca fabrics are one of my "must haves" in creating such a space.

With a full range of deliciously rich colors from pale neutrals to reds, blues, greens and even black I find that it is always easy to include her fabrics in my color palettes. She has even created an exciting range of brighter colors including a bright leaf green to one of my personal favorites, "Geranium", which is similar to a more vivid terra cotta. In addition to her large selection of solids her line also includes several patterns including tonal stripes and plaids, which are in the Prima Alpaca as well. In fact I used the "Silver Oak" stripe for a custom bedspread that I had made for my room at last years DC Design House. I found that the visitors in my room kept coming back to that bedspread wanting to experience Alpaca's incredible softness by touching it. It is also incredibly durable and is perfect for upholstery use and bedding.

The collection is shown in many showrooms all over the country including Holly Hunt in L.A. and Washington DC. To learn more about Prima Alpaca and the Sandra Jordan Collection be sure to visit her gorgeous web site.

All above photos are the property of the Sandra Jordan collection and have been used with permission.

Guest Bedroom-2010 DC Design House-Michael Hampton Design

Architecture and Light Series-Part 1

2010-11-24T06:09:00.000-08:00

It is hard to believe that we have been here in Santa Fe now for almost two months now and in that time I have been really fortunate to be able to focus more on my painting. With the natural beauty and light all around me all I have to do is walk out my front door for inspiration.

I have been conceptualizing a series of paintings that combines my love of architecture while celebrating the extraordinary light and beautiful landscapes here in New Mexico. Through my explorations I am discovering how much I am drawn to the strength of the shadows cast by the seemingly unfiltered light and how they create almost abstract forms on the building walls. And I love the strong contrast of the brilliant cool blue skies and the warmth of the stucco walls. The simplicity of Pueblo architecture creates the perfect canvas for shadows, light and reflection.

In preparation for the finished paintings I have been working from my own photographs and have created a painting sketch book. In it I have started to make studies of the various subjects I intend to paint. The sketchbook allows me to work out the overall composition, create colors studies, and prepare for the various steps for the final painting. The top picture includes my first completed painting for the series.

I am very excited to have started my series and will be sharing my progress with you. As always I welcome and appreciate all of your comments.

House of My Dreams

2010-11-08T13:09:00.000-08:00

It can be so elusive to try and imagine ones own dream home with complete clarity. As a designer the things that inspire me can go in so many different directions. One day it can be a minimalist house by John Pawson and the next it can be a French Normandy style by David Adler.

But after reading yesterdays Style magazine in the New York Times I think my inner search for my dream home has come to an end.

The house is definitely modern, which I find myself leaning towards more and more. But my connection and love for this house is it's connection to nature. It doesn't fight it, it celebrates it and literally has become part of the landscape by being carved into the rock and with the use of the sod roof. The expansive steel windows frame the beauty of the sea blurring the line between house and water.

Once inside the house softens a little with the softness and textures of the fabrics and wood. Some may argue that it appears a little chilly but I love the contrast of the velvet and concrete and the juxtaposition of the Louis XV style chandelier and wall sconces. It warms the interior and becomes a personal reflection of the owner. In my own work I always strive to make the house a reflection of my clients rather then being all my own.

But the most exciting element to me is the bathroom vanity that is carved out of the rock that seems to flow like lava from the outside to within. It is a dream come true!

What does your dream house look like? I would love to know.

2010 DC Design House-Before and After

2010-08-22T17:51:00.000-07:00

I have been meaning to share my before and after photos for the guest bedroom I completed at this years DC Design House in Chevy Chase, Maryland. My friend, Grant Gibson, reminded me in one of his comments that I needed to do it so here you go!

This is the guest bedroom in the before state. My vision was to create a quiet, serene, and enveloping space that was all about luxurious textures and restful colors. To achieve this I had all of the walls lined in a gorgeous new fabric from Manuel Canovas and finished in a pale cream and blue small tape trim from Samuel and Sons. But I wanted to give the room a little bit of edgy sexiness so I designed a custom cow hide rug, which was beautifully executed by the one and only Kyle Bunting in Texas. For those of you who are not familiar with his work I strongly encourage you to look at his incredible web site. Amazing what he can do with hide.

My palette for the room above.

Here is the same view of where the bed was during construction. I had all of the existing moldings removed and had them replaced with appropriately scaled ones. In addition I added recessed lighting to highlight the furniture and art. Adding wall sconces to the room provided a warm ambient glow to the room. Note how I taped out the chest and mirror that I had selected for the room for scale.

Another photo taken during construction. I had started to tape out the grouping of art that I had designed for the room.

The center door leads to another bedroom/ study. The rounded arch made no sense architecturally so I had it removed. So the visitors would not be tempted to use the door I turned the recessed area into a niche where I placed a lacquered pedestal and a Ming Dynasty carved wooden scholar.

One of the biggest challenges I faced was how to arrange the furniture. The room had four doors and a large window so the only wall left for the bed was in the corner where the bed had been previously placed. I knew that I wanted to make the David Iatesta bed the focal point of the room so I decided to curtain over the center window and leaving the side windows open. By doing so I created a soft backdrop for the bed. I used the same Manuel Canovas fabric for the curtains, which seamlessly blend into the walls creating a cocoon like softness to the bedroom.

The finished room above with the David Iatesta bed, Rose Tarlow side tables and lamps and two custom slipper chairs I designed, which are upholstered in a Larsen silk velvet. The custom blanket was made with a pale striped alpaca fabric from my good friend Sandra Jordan. Her collection of alpaca fabrics is extraordinary.

The before view looking east.

After, showing the bed in better detail. The painting in the background was painted for my room by John Matthew Moore. It is a interpretation of a landscape painting by Claude Lorraine in my favorite colors of warm grays and blues.

The finished room looking west. Note the Kyle Bunting cow hide rug. It really made the room!

A vignette with the bed reflected in Michael Smith's "Duke" mirror from the Jasper line. The parquetry commode is German circa 1780. French Empire marble clock and a Cambodian head with African metal currency mounted on stands.

Another vignette highlighting the lamp, Pembroke table and stool. All from the Rose Tarlow collection.

Detail photo showing the carved wooden Ming Dynasty scholar. Note his peacful expression and graceful pose. It was one of my favorite pieces in the room. The framed postcards are of marble busts of Roman Emperors, which I found on Ebay. They are from the British Museum.

I am so appreciative of everyone who helped make the room possible!

The Southwestern Jewelry of Millicent Rogers

2010-08-15T13:53:00.000-07:00

Photo-Louise Dahl-Wolfe, Harpers Bazaar, 1948

One of my favorite fashion icons has always been the ultra chic and uber stylish Millicent Rogers. During a recent visit to Taos, New Mexico I had the great pleasure of touring the Millicent Rogers museum, which houses her astonishing collection of Southwestern and Native American decorative arts, in particular the Navajo and Zuni.

She spent the last chapter of her life in Taos from 1947 to her death in 1953 after many years in New York, Paris and Austria. Millicent created the "hippie chic" look during those years in Taos by combining refined and delicate blouses by Charles James, Schiaparelli sweaters, and Mainbocher linen skirts with chunky Native Amercian jewelry.

The museum houses Millicent's jewelry and to see it in person was truly inspiring. If only she could have lived to see the jewelry of Tony Duquette!

A large scale turquoise and silver necklace

Silver beaded necklace with crosses

Turquoise and silver buttons

Coral, turquoise, and silver necklaces with silver broach. Velvet blouse.

More silver buttons

Sterling silver necklace

Armloads of silver and turquoise cuff bracelets

A massive turquoise necklace. You would not believe the size!

Over the past two years I have grown to love the Southwest, in particular Santa Fe and Taos and I am often at a loss for words to describe the feelings I have for it. At the museum they have a copy of an extraordinary letter that Millicent wrote to her youngest son, Paul Peralta-Ramos prior to her death. It is through her words that I understand more not only of my love for the Southwest but also how we should approach and contemplate ones life.

"Darling Paulie,

Did I ever tell you about the feeling I had a little while ago? Suddenly passing Taos mountain I felt that I was part of the earth, so that I felt the sun on my surface and the rain. I felt the stars and the growth of the moon, under me, rivers ran. And against me were the tides. The waters of rain sink into me. And I thought if I stretched out my hands they would be the earth and green would grow from me. And I knew that there was no reason to be lonely that one was everything, and death was as easy as the rising sun and as calm and natural - that to be enfolded in earth was not an end but part of oneself, part of every day and night that we lived, so that being part of the earth one was never alone. And all fear went out of me - with a great, good stillness and strength.

If anything should happen to me now, ever, just remember all this, I want to be buried in Taos with the wide sky - life has been marvelous, all the experiences good and bad I have enjoyed, even pain and illness because out of it so many things were discovered. One has so little time to be still, to lie still and look at the earth and the changing colours and the forest - and the voices of people and clouds and light on water, smells and sound and music and the taste of wood smoke in the air.

Life is absolutely beautiful if one will disassociate oneself from noise and talk and live it according to one's inner light. Don't fool yourself more then you can help. Do what you want - do what you want knowingly. Anger is a curtain that people pull down over life so that they can only see through it dimly - missing all the savor, and the instincts - the delight - they feel safe only when they can come down someone. And if one does that they end by being to many, more than one person, and enjoyed. And when my time comes, no one is to feel that I have lost anything of it - or be too sorry - I've been in all of you - and will go one being. So remember it peacefully - take all the good things that your life put there in your eyes - and they, your family, children, will see through your eyes. My love to all of you."

Millicent Rogers died on January 1, 1953 in Albuquerque, New Mexico.

Highlights from Santa Fe

2010-06-01T17:50:00.000-07:00

I realize that many of you have probably wondered if I dropped off the earth since I have not posted anything in quite some time. My work has been so focused on clients and the recent DC Design House lately that I have not had as much time as I would like to devote to my posts.

I was long overdue for a get away and the travel bug got the best of me so my partner and I just returned from an incredible road trip through America's Southwest. Our journey began in Park City, Utah and continued through Zion National Park, Bryce Canyon, Monument Valley, Mesa Verde, Durango Colorado and finally onto Santa Fe, New Mexico, which has become a spiritual second home to us.

For those of you familiar with Santa Fe you will surely agree that the light there is extraordinary. I am also drawn to the endless skies, wide open spaces, and the fantastic architecture. I find that I am drawn to the modern interpretations of Pueblo architecture when done right. The successful examples celebrate the colors of the Southwest and the outdoors.

We were fortunate to stay in such a house where I did not have to stray very far to take some interesting photos.

More on the rest of our adventures in the Southwest later.

Fountains of Paris

2010-03-13T05:14:00.000-08:00

I have always had a particular fascination with fountains. Perhaps it is the relaxing sound of the water, bubbling forth from some secret source, or maybe it's how they draw you to them with their beauty and charm and the promise of delight.

David and I came across the fountain above as we were exploring the maze of streets in the Marais during our most recent trip to Paris. As we turned the corner to a dead end alley my breath stopped for a minute upon seeing this beauty. While strolling in Paris I always have the essentials. Camera, measuring tape, and my sketchbook in case I find something that I may paint later. David always generously lends a hand to help me measure. So I was able to measure it as best as I could so that I could draw it to scale back home.

Unfortunately I do not have any historical background on the fountain since there were no plaques of mention of the architect anywhere. My guess is that it is mid to late 18th century.

The fountain below may or may not even exist but a dealer I found on line was selling it. Although I did not buy it I used it as a model for practicing the Beaux Arts method of painting in grey washes. Like the fountain above it could have also have been used to terminate the end of a street or to grace the side of a building in a charming Parisian square. Maybe I will come upon it during our next visit to my favorite city?

2010 DC Design House

2010-02-20T04:24:00.000-08:00

I am very excited to be participating in this years DC Design House benefiting the National Children's Medical Center. This year promises to be a big success with some of DC's best designers participating. I'm thrilled to be doing the Guest Bedroom. Hope you all can stop by!

http://dcdesignhouse.com/

Highlights from Paris- Part 2

2010-01-30T11:30:00.000-08:00

Can you ask for anything better then salted caramel coffee and assorted macaroons at Laduree'.

How about a collection of mirrors by Lin Vautrin?

Or a carved fountain depicting Janus, the god of gates, doors, doorways, beginnings, and endings.

Stroll along the Seine anyone?

Detail of wallpaper at Laduree'

What would be your favorite?

Musee Nissim de Camondo

2010-01-23T13:14:00.001-08:00

Located on the edge of the Parc Monceau in Paris lies one of the cities most extraordinary museums. The Hotel Camondo was designed by the French architect, Rene Sergent (1865-1927) and completed in 1912 for the wealthy banker Moise de Camondo. In 1860 Comte Moise was born into a Sephardic Jewish family in Istanbul, Turkey. His family owned one of the largest banks in the Ottoman Empire. As a child the family moved to Paris to establish their astonishingly successful bank and Comte Moise continued in his father, Nissim de Camondo's footsteps by running the business.

In 1891 Moise married Irene Cahen d' Anvers and they had two children. Nissim (1892-1917), who was named after his grandfather, and Beatrice (1894-1944). Moise and Irene were divorced in 1902.

The Hotel Camondo was inspired by the Petit Trianon at Versailles and built to house Moise's astonishing collection of 18th century French furnishings. The collection included a French silver service ordered by the Russian royal Catherine II, Buffon porcelain from Sevres, Savonnerie carpets, and furniture by Jean Francois Oeben, Jean Henri Reisener, and Georges Jacob.

Despite the influence of the Petit Trianon, the interiors were designed to be beautiful yet functional and quite modern for their time. Typically period rooms were arranged enfilade but the interiors of the Hotel Camondo were designed without this typical feature, making the rooms much more livable and private.

A glimpse of the hotel's neoclassical facade through the entry court off of the Rue de Monceau.

Looking up at the mansions exquisite architectural details. I love the curves of the projecting wings.

The Salle a Manger or dining room featuring the Catherine II silver service and the Sevres porcelain.

An amazing bronze bust. Note the gilt bronze earrings!

A detail of the boiserie in the dining room.

The drawing room includes a marble bust by Jean Antoine Houdon and a 17th century Japanese sake bottle with 18th century gilt bronze mounts. This piece was owned by Madame de Pompadour. Note the original 18th century needlepoint upholstery on the settee and the firescreen.

A close up of the Japanese sake bottle. Note the shaped stopper and the exceptional gilt bronze mounts.

One of a pair of encoignures by Bernard Van Risenburgh in the grand stair hall. Considered priceless they are two of the most important pieces in the house. The magnificent iron railings were fabricated by Bagues.

The private study of Comte Moise de Camondo. Before she was married it was the bedroom of Moise' daughter Beatrice.

Look closely at how beautiful the pictures are hung. I will have to remember this for a future project!

Such a handsome room!

Nissims bedroom and study. My favorite room in the house. The portrait over the daybed is of Nissim's father, Moise de Camondo.

The back stairs that were privately used by the family.

Tragically in 1917 Nissim, a volunteer fighter pilot during World War 1, was killed during a mission. Comte Moise was devastated to lose his son. He had built the Hotel Camondo for Nissim who shared his fathers same passion for the decorative arts. Sadly Beatrice did not share her fathers passion and had no interest in continuing the legacy of the house.

Upon Comte Moise' death in 1935 he bequeathed the state of France with the house and it's entire collection in honor and remembrance of his son. The museum was officially opened in 1936 and has been perfectly preserved ever since.

But the tragic fate of the Camondo family continued. During World War II, Beatrice, her husband Leon Reinach, and their two children were sent to German concentration camps and exterminated in 1944. One cannot help but feel thankful that Moise did not live to witness the horror of the Second World War and the unspeakable loss of his remaining family. The Camondo family name died with Beatrice and her children.

To walk through the rooms of the Musee Nissim de Camondo is to feel as if time has stood still. The museum has preserved the house and it's furnishings exactly as it had been during the family's residence.

After losing Nissim, Moise withdrew from social life and focused his attentions on his collection and to share it with a small group of friends who shared his passions for gourmet food and the decorative arts.

Despite the immense beauty of the mansion, there is an underlying sense of sadness that still permeates the house. One can especially feel it in Nissims bedroom and Moise's private study where he would often shut himself off from the rest of the world.

Regardless it was a truly amazing experience and offers one a glimpse of an extraordinary man's life and his testament to the best of the French architecture and the decorative arts.

All photos taken by Michael Hampton

Highlights from Paris- Part 1

2010-01-21T15:30:00.000-08:00

David and I just returned from a four day trip to Paris. It was a whirlwind of sightseeing, eating, and visiting with friends. During our previous trips we always stayed on the left bank in St. Germain but for this trip we really wanted to try something different. So we stayed right in the heart of the Marais. We loved the pulse and vibe of the Marais and enjoyed exploring the maze of streets filled with unique shops, restaurants, and incredible architecture. If you love 17th and 18th century French architecture then you would feel like you've gone to heaven like I did.

Since the weather was rather cold and rainy we decided to pass most of the time away indoors visiting museums and having leisurely lunches and dinners. The first museum on our list was the Musee des Arts decoratifs. During our last visit to Paris the museum was closed for renovations so were very excited to finally see it.

Some of the true highlights of the museum were the Albert- Armand Rateau designed boudoir and salle des bains of Jeanne Lanvin. Because the rooms are enclosed in glass I could not take decent photos so I had to rely on the images from the museums web site. But in person they are truly stunning. A tour de force of incredible quality and attention to detail from the hand carved stone bidet to the carved plaster relief behind the tub.

Displayed in another gallery was an stunning collection of grisailles wallpaper panels. I loved the contrast between the colorful painting in the foreground and the muted tones of the grissailles panels in the background.

The faience figure almost appears as if it is stepping out of the scenery behind.

A colorful and exuberent example of antique wallpaper above.

A beautiful corner of a 18th century room. I am drawn to the extraordinary mahogany bureau a cylindre set against the muted greens and pale yellows of the painted boiserie and the silk damask curtains. The colors in the period Savonnerie rug are exceptional.

A rare and splendid Cartier clock in the form of a Chinese gate. It is made from jade, ebony, and coral. Note the coral hands!

A 1921 chaise by Clement Rousseau in ivory, shagreen, and pallisandre, which is an exotic wood from Brazil.

A dimunitive mahogany, shagreen, and ebony commode by Paul Iribarne Garay. Circa 1912.

A mahogany two tiered side table inlaid with ivory and gilt bronze.

All photos with the exception of the Rateau rooms were taken by Michael Hampton

Worcester Lodge at Badminton

2009-11-09T18:50:00.000-08:00

The vast estate of Badminton, home to the Dukes of Beaufort has always been famous for hunting. The third Duke, who came into the title in 1714, had the great and fashionable architect of the period, William Kent transform the main house into the one that we see today.

The Main House at Badminton

William Kent

Kent also expanded the spacious grounds to improve the pleasure of the hunt. Included in the expansion Kent designed the Worcester Lodge as it is known. It is on axis with the main house and creates a striking silhouette in the distance. The lodge was built as a hunting pavilion for the Duke to entertain his guests who preferred to observe the hunt from a distance in it's grand center salon on the second floor.

The watercolor above depicts the Lodge, with it's wonderful heavily rusticated base, soaring center arched windows, and the unusual pyramid capped side pavilions. The stone carvings are of exceptional quality. Note the finely carved family crests above the arched windows.

This was undoubtedly one of the most difficult and time consuming paintings that I have finished to date due to the details in depicting the rusticated base and the stone work. I was also unable to find any surviving drawings of the lodge so much time was spent on getting the measurements correct However I am pleased with results and relieved to have it finally completed. It has been on my subject list for quite some time but I was a little intimidated by it's complexity.

I hope you are as charmed by this distinctive and notable building as much as I have been.

Object(s) of the Day

2009-11-08T10:39:00.000-08:00

I know that it seems that I have disappeared off of the face of the earth. Well I felt like I came close during the last few weeks that we spent in the southern hemisphere. Australia and New Zealand to be exact.

The first stop on our itinerary was the beautiful waterfront city of Sydney, which reminded me so much of San Francisco so I felt right at home. Aside from the eclectic architecture, incredible food, and the lovely beaches the city has a diverse number of museums. The Art Gallery of New South Wales was one of my favorites.

The building is a neoclassical gem that houses a wide variety of collections from Old Masters and Aboriginal Art to Contemporary and Asian.

In particular their Asian art department has an extraordinary collection and I took the photos of the following pieces for their purity of form and exquisite patterns and textures.

The Summer House

2009-09-19T13:42:00.000-07:00

My friend Janet from JCB and I share a similar passion for architecture and garden follies in particular. She is has been so wonderful to introduce me to many future painting subjects. While either reading her blog or looking at her incredible photo albums I noticed this exquisite little pavilion.

It turned out that the pavilion was practically in my back yard! Well actually it is a 50 minute drive from my home in DC to the historic William Paca House in Annapolis Maryland.

William Paca was born in Annapolis in 1740. He was educated in Philadelphia and trained for a legal career, which he pursued back in Annapolis. William Paca was Maryland's governor for three one year terms from 1782 to 1785. He supported state ratification of the United States Constitution in 1788 after proposing the addition of the Bill of Rights. In 1789 President George Washington appointed him a federal district court judge, which was Paca's last office in a life of public service. He died in 1799.

Construction of his estate began in 1763 and continued until 1765 when it was completed. The architecture of the Main House was built in the Georgian style, which was typical of this time. His two acre garden was also laid out during construction. It included parterres, canals, and a small pond featuring a delightful wood bridge in the Chinese Chippendale style. The entire gardens were surrounded by beautifully detailed brick walls. At the far end of the garden he built the two story summer pavilion. From the upper floor the Paca family could view the garden, entertain guests and enjoy summer breezes.

Sadly the original gardens and summer house did not survive over the years but in the 1960's and 70's the gardens were restored to their former glory. The summer house was reconstructed from the portrait above of William Paca, which includes the original summer house in the background. While visiting some friends in Annapolis I was able to quickly visit the gardens and measure the existing pavilion so that I could create the painting above back at home.

If you are in the DC area and want to escape the modern life of the city make sure you head to the William Paca house and step back into the 18th century while enjoying it's peaceful gardens.

The Gates of Nantucket

2009-09-16T14:27:00.000-07:00

One cannot visit the island of Nantucket and not be completely entranced by the beautiful houses, glorious gardens, and the surrounding beaches. As we recently explored the island I found myself constantly having to pinch myself, as each house and garden that I came across outdid the previous one. In particular I was drawn to all of the different gates that offered a framed window into the enchanting gardens beyond.

I found that the arched arbor with the white pickets were typical for Nantucket and I loved all of the different variations.

Another common feature of Nantucket gardens were the beautiful old hedges with many of them forming arches above the gates.

It had rained heavily the night before leaving everything wet and smelling wonderful. I loved the patina of moss on this old wood gate.

During one of our bicycle trips to Sconset, which is on the same island, I came across this charming cottage. Note how the climbing roses are trained to continue over the roof. Another common garden feature in Nantucket.

Even the birdhouse in the distance is charming.

I almost fell off my bike when I came across this extraordinary hedge.

Another photo of the same gate showing the gardens beyond.

The dramatic height of these hedges created an amazing perspective drawing your eye to the front door.

Off to Maine

2009-09-02T17:04:00.000-07:00

Were off on a long road trip to Maine and Nantucket for a little R&R, hiking, and of course antiquing! I will look forward to sharing photos from our trip with all of you upon our return.

On my own

2009-08-05T06:20:00.000-07:00

I am thrilled to announce that I have taken the plunge and decided to go out on my own. Michael Hampton Design is official! For the past 15 years I have been fortunate to work for two of the most talented designers who have taught me so much and who have helped train my eye to recognize beauty and refinement. With all that I have learned I felt that it was time to pursue my own projects and my own vision. I am incredibly excited to see what the future holds.

I thought that I would share some vignettes from my own home with all of you.

A grouping of various carved heads from China, Bali, and a small marble Roman. With a bronze neoclassical tazza in the back.

A small tablescape including a 19th century miniature portrait painted on ivory with an ivory frame. These miniatures were painted as souvenirs and the frames were made from old piano keys. In the front I have a small lidded bowl from Korea, which was a gift from my former boss, Steven Volpe.

I love the sculptural forms and beautiful patinas of the various old African currency that I have collected. The small circular piece is actually an old stone Khmer bracelet. In the background is a partial view of my original watercolor painting of the Chateau de Clagny painted by Andrew Zega and Bernd Dams. One of our most treasured pieces.

Roses and a couple of favorite parchment and shagreen boxes. The roses were a gift from my partner David to celebrate going out on my own. They are the perfect roses. If only I could make them last forever!

These are a few of my favorite rooms....

2009-07-24T10:09:00.000-07:00

I keep a collage above my desk of rooms and images that never fail to inspire me. One of them is the dining room of former antique dealer extraordinaire, Acko Van Acker. Sadly his former shop on the rue de l'Universite' exists no more but years ago I had the great pleasure of visiting his shop. At the time it was one of the most interesting shops in Paris. He had an eye for the extraordinary and the unusual and he mixed in all together into a fantasy world of beauty, proof in the room above. It was the kind of shop you could truly spend hours in. If you have the book "Antiquaire" make sure you look for the photos of his shop.

Another room that always inspires is the Manhattan townhouse of Jane Holzer formerly known as Baby Jane Holzer who was one of Andy Warhol's superstars.
I have always loved the juxtaposition between modern and classical as the above photo shows. What a surprise to walk in this the entry of a classically designed building and find the John Dickinson metal console, surrounded by modern paintings, and the Giacometti chair. The box of fruit loops and the strange bouquet of black flowers add a very personal and unique touch to the rooms. I would pull up that fabulous Giacometti chair right up to the console and have myself a bowl of fruit loops. All I would need is a pitcher of milk!

I am the first to admit that I have and always will be a true Francophile. How I wish that I could have lived during the Ancien Regime. However I have lost interest in period rooms. Sure they are always fascinating to admire but again I love the mix of the 18th and 20th centuries as shown in the above. What makes this room so fresh and inspiring is many things. First the modern painting contrasted with the Louis XV chairs below. Second the omission of the expected rug and curtains. It is clear that the light coming into the room is perfect so why obstruct it with a window treatment. And the terracotta tiled floor has the most beautiful color and patina so why cover it. One can only imagine the view from the windows!

We are off to Boston for the weekend so I should have lot's of great photos to share with you next week.

Wishing you all a wonderful weekend!

Object of the Day

2009-07-23T07:56:00.000-07:00

I have never been much of a newspaper in the morning kind of guy. Instead I enjoy reading everyone's blogs and perusing the newest wares from my favorite antique dealers. I find such pleasure in starting my day by looking at beautiful things.

This morning my breath was taken away by this extraordinary object. It is a late 19th century hand carved ivory dove from the Meiji period in China with inlaid eyes and bronze feet. Look closely at the delicate carving. It is hard to tell from the photo but it is quite small at 4" wide x 7" high. One can almost feel the softness of his feathers before flying away. I am always so inspired by such artistry in creating such a refined and beautiful object.

This piece is being offered by H.M. Luther in New York. Hopefully it will find a deserving home from someone who can appreciate it's beauty everyday. http://hmluther.com

Change is Good

2009-07-20T10:35:00.000-07:00

Well friends I have decided to change the direction of my blog so that it is more all encompassing. As you know architectural watercolors are one of my biggest passions. But I felt that I was limiting myself by devoting it solely to my paintings. My passions also include interior design, architecture, gardens, furniture, art, and film to name a few. So I thought it would be more interesting for myself and all of you for me to share the many facets of design and art that inspire me.

Just to give you a little teaser of what is to come I wanted to share a favorite room. It is a magical foyer from the home of the great design duo Zajac and Callahan, who were most famous for their work in the 70's and 80's. To me this room represents the varied passions of a true collector and connoisseur from the Z & C Line Vautrin inspired mirror to the Irish Chippendale console and the intriguing mix of prints. Topped off with the sparkle of the crystal chandelier, which to me looks like a mix between Waterford and something from the 30's. I even love the surprise of the bar tray on the floor. Not the most conducive to entertaining guests but hey I love the unexpected! I look forward to sharing my inspirations with all of you soon.

Rooms With a View

2009-07-02T08:39:00.000-07:00

While I am working on my next watercolor I thought I would share the work of one of my favorite watercolorists of all time. These paintings make me want to put away my mayline straight edge, templates, and scale ruler, and dive into the three dimensional world of painting interiors.

The artist Elizabeth Hoopes worked for Eleanor McMillen Brown for over thirty years from the 1930's to the 1960's. During that time she created an extraordinary collection of paintings that were referred to as "portraits" instead of renderings. They were painted after the rooms were completed instead of being presentation renderings, which showed the client what the room would look like. Hoopes actually sat in each of the rooms and painted what she saw in front of her.

To me her paintings capture the true essence and spirit of each room. One can actually feel the hand of the fabrics, see ones reflection in the mirror, and feel the warmth of the sunlight streaming through the windows. The colorful and vibrant watercolors of John Singer Sargeant come to mind when observing her work.

In this age of computer generated art, Hoopes watercolors are such refreshing statements that reflect days gone by and illustrate the timeless appeal of McMillen rooms.

Unrealized Pavilion

2009-06-26T06:36:00.000-07:00

After his travels and studies abroad in China, Paris, and Italy Scottish architect, Sir William Chambers returned to England in 1755 to start his own practice and produce some of his finest expressions of neoclassical architecture.

He is most famous for designing Somerset House in London, the Chinese Pagoda at Kew Gardens, the Dunmore Pineapple near Falkirk, and a number of many other extraordinary creations throughout Great Britain.

He also designed a number of charming pavilions and follies, which were sadly never realized. Among them is this beauty. A domed two tiered single structure consisting of perfectly proportioned Doric columns and pilasters. The entablature features a carved mask with flanking swags of leaves and the outer corners of the buildings pedestal include Roman inspired urns.

The buildings intent or purpose is unclear but I suspect it would have been designed as a garden structure. It might have been intended as a music pavilion or simply as a place to escape the rigid etiquette and formalities of the Main House.

I am hoping to continue my studies of Chambers unrealized pavilions and include them in my future posts.

The Casino at Marino- Ireland

2009-05-18T11:48:00.000-07:00

This jewel box of a garden pavilion was designed by the great British architect Sir William Chambers for James Caulfield, 1st Earl of Charlemont. It was begun in the late 1750's and was finished around 1775. It is considered one of the finest examples of neoclassical architecture of the period.

Despite it's relatively small size from the outside the interior contains sixteen rooms on three separate floors. Chambers ingeniously arranged the rooms to maximize the Greek cross form of the building. The exteriors are richly adorned with a large assortment of egg and dart moldings, carved swags, triglyphs, metopes, and rusticated stonework. The most wonderful carved elements include the lion sphinxes that guard the pavilion at the corners, the carved figures above the cornices and the delightful urns that double as chimneys. The perfectly proportioned Doric columns also disguise downspouts from the roof.

The unusual name "Casino at Marino" translates from the Italian words Casino (small house) and Marino (small sea)-Small House by the Sea. Charming isnt it?

In choosing the color palette and the materials my inspiration was to paint it in traditional monochrome grey ink washes in the style of the Ecole des Beaux Arts. I felt that the strong neoclassical style of the building would look best using this method.

I have used black india ink for the painting, which eliminates the need for color mixing. As you can see there are various shades of grey in the painting from light to dark. In all I have used four shades of grey; light, medium, medium dark, and dark. These shades are achieved by how much water you add to your pigment. For the lightest wash I use a large ratio of water to ink. As I go darker additional ink is added to my pan. The india ink is highly concentrated so a little goes a long way making it an economical choice for my paintings. Plus I love the strong contrasts between the lights and darks.

Sorry to all for the long lapse of time since my past post but I hope you all enjoy my latest work.

The Boycott Pavilions

2009-04-05T15:44:00.001-07:00

When I think of Eden I think of the magical gardens and follies of Stowe. One of the finest surviving examples of English Baroque splendor of the early 18th century.

The building that I have painted is one of a pair that flanks the entrance road to the estate. The pavilions were originally designed by James Gibbs and one of the two was completed in 1729 with the second being completed in 1734. Originally the pavilions were capped by large obelisks that began just above the four pediments. How incredible they must have appeared! The obelisks were replaced by the dome and cupola as they are shown around 1754 by the Italian architect Giovanni Battista Bora. As much as I love the pavilions in their present state I would have loved seeing the almost surreal appearance of them with the obelisks. I am researching the designs and intend to paint one of the pavilions in it's former state.

If only I had the room and the money to build one of these enchanting pavilions in my backyard.

Buried Treasure

2009-03-25T04:07:00.000-07:00

I have two major addictions, books and dashing into antique stores. Ok I love food and wine too but that's a totally different story.

During one of my recent jaunts into a favorite antique shop in Georgetown I was stunned and flabbergasted to find what appeared to be a watercolor painting from the celebrated designer Van Day Truex. My fellow design aficionados know that he was also a talented and accomplished painter, who's work is collected by notables such as the great Albert Hadley.

I asked the shopkeeper about the painting and she described it as an old Italian print! Well you could imagine my excitement when I realized that they had no idea what it was despite the signature on the lower right corner.

With today's innovative printing and reproduction abilities it can make it difficult to recognize if it is an original or indeed a print. So I thought I would do a little investigating before I committed to buying the painting or "print".

I contacted my friend Stephen Salny who is the accomplished author of David Adler and the his most recent book on Michael Taylor. (A fabulous read by the way!). Stephen is friends with another talented writer, Adam Lewis who literally wrote the book on Van Day Truex as well as the incredible book on Albert Hadley. So Stephen did me a great favor by consulting with Mr. Lewis who confirmed my suspicions that prints or reproductions were never made from Mr. Truex's work. In fact he knew that it was painted at the American Academy in Rome most likely in the 1950's and it came from the estate of Mr. Truex's friends Laurance and Isabel Roberts. Mr. Roberts was the director of the Academy from 1946 to 1960. In my opinion the painting seems to depict a scene from the gardens near the Villa Borghese, now the Museo Borghese. I recognize the rows of umbrella pines, terracotta urns, and sculpted hedges from my own visits there.

It is the rare "buried treasures" such as this one that fuel my addiction to scouring antique shops of all kinds because you never know what you will find.

Now the big question that is looming over my head is where to hang it!

Enfin!

2009-02-28T18:15:00.000-08:00

At long last I have completed the Temple of the Four Winds!

Since my last blog I have focused on adding all of the multiple layers to the painting. This can undoubtedly be the longest phase of the painting but god is in the details and I easily and happily get lost in them. It takes many successive washes to create all of the middle and darker tones. Rather then paint the building as it might have looked in the 18th century I wanted to focus on the beautiful patina that the pavilion had acquired after nearly three centuries of existence.

To achieve the depth of the architectural details and the shadows I added many layers of mixed burnt umber, and French ultramarine in various degrees of color saturation.

I used three washes of burnt umber and French ultramarine to achieve the nearly black windows. To create the window muntins I used my ruling pen with Chinese white gouache, which is much more opaque then watercolors. Allowing me to layer over the black watercolor once it has completely dried. This is a much easier process then painting the individual window and door muntins.

It's interesting how one becomes totally immersed in the subject matter their painting. In painting buildings I almost become lost in the fantasy of the structure I am reproducing. Even if I have never visited the actual building I almost can feel as if I am actually standing in front it. I can almost feel the warmth of the stones as the sun strikes and creates it's dramatic shadows. To achieve realistic shadows you must really imagine the sun hitting the building. Of course observation in reality is a must. I try to always keep my camera with me so that I can document shadows. Because of all of our wonderful classical buildings, DC is a fantastic place to observe how the shadows cast themselves on the buildings.

Towards the end of a painting I find myself already becoming excited about my next subject. I have several ideas in mind so I will keep you all posted.

Thanks to all who have been so encouraging of my work. It really inspires me to keep going!

Under Wash

2009-02-05T17:15:00.000-08:00

After many hours of creating my line drawing the time has come to begin my under wash. This stage in the process makes me a nervous wreck! One wrong move and all of the hours you have spent on the drawing can be ruined in 30 seconds by not taking the correct steps beforehand.

1. Proper masking- I typically use drafting tape to mask the outside edges of the building and areas where I do not want the under wash color such as the windows. I rarely use masking fluid but sometimes it comes in handy for small areas where you can not use tape. I cover the ends of the cornices with tape as well and carefully cut out the shape with a very sharp exacto blade. Make sure that you do not apply too much pressure or it will cut into your watercolor paper.

2. Color Palette: It is important to create a color study or palette beforehand. I like to figure out what the under wash color will look like, the color of the stone work, shadows, roof, and statuary. I even draw a small sketch showing a section of the building so I can experiment with color. Make sure you have enough of your paint colors ahead of time. It is no fun to be in the middle of your painting and realize you don't have enough of a necessary color.

3. Think ahead of time about the sequence of steps in your painting. You have to think and react very quickly while painting because the medium is so unforgiving. So think about every step before you proceed. Think about which washes will need to be completely dry before you move on to the next wash. You don't want certain areas to bleed together.

4. Make sure your lighting is good and take into consideration the temperature or dryness in the room. The temperature and humidity in the room can affect your drying time.

5. Keep plenty of paper towels nearby for blotting and cleaning up any unexpected mistakes.

6. Having too much coffee or cocktails is usually not a good idea. You want a steady hand as you can imagine. Hey I love to have a glass of wine in the evening but I keep it to minimum.

7. Have fun! Enjoy the process and the beauty of the medium you are working with.

For the under wash I use a very diluted mix of yellow ocher and a touch of burnt umber. I am using a wet on dry flat wash working from left to right as I work my way down to the bottom. You will need to reload your brush several times during the wash. If there is any excess at the bottom just blot your brush on your paper towel and wipe away the excess. This is one of the most important washes to get right because the color and consistency will effect all of the washes you put on top of it.

Because there is so much variation in the stonework I like to pick out some of the stones after the under wash is dry by repainting with the same yellow ocher and burnt umber mix.

From here I will be working on creating the contrasting values and the details, which I will include in the next blog.

Attachment of Drawing to Board

2009-01-07T17:40:00.000-08:00

It seems like it has taken me forever to get to this point but the under drawing is finally complete and I can proceed with the first step in the watercolor process, which is attaching it to the board.

I attach the drawing to a hollow core board. You can find them in any art store. I use either a smaller or larger board depending on the size of the drawing. For attaching I use a heavy duty stapler. Staple the drawing on the very outside edges of the paper. I will also occasionally tape the drawing to the board with either a wide artists or drafting tape, which will not damage the paper.

If you are using a 140 lb watercolor paper you must stretch the paper in water before you attach it to the board. I usually run it under the tap or submerge it in the sink with water for a few minutes. Take the paper out of the water and let it drip dry for a few minutes. It is important to attach the paper to the board while it is still wet so that when it dries it will be all stretched and ready to go!

The benefit of attaching the drawing to a wood board instead of your drafting surface is so that you can easily move your drawing around as you painting. Sometimes you will want to manipulate where the watercolor runs and being able to freely move the board will let you do this.

Finishing Details

2009-01-07T17:32:00.000-08:00

Now that the holidays are over I am looking forward to moving forward on the watercolor of the Temple of the Four Winds and to get caught up on the blog. I have made the revisions to the scale of the dome as well as the urns and I am pleased now with the results.

With the drawing of the building complete I needed to add a couple of details. Although it wont be a prominent feature in the final watercolor, the carving of shells above the windows are particularly extraordinary and I at least wanted to suggest them.

Necessary Revisions

2008-12-17T18:00:00.000-08:00

My partner, David surprised me with a wonderful early holiday gift. A beautiful book on Sir John Vanbrugh who designed the temple. Inside are many detailed photos of his work including the Temple of the Four Winds. I was speechless after unwrapping the book. I had no idea that the book even existed! David found it with much excitement at the National Gallery and he wanted to give it to me before I proceeded with the painting. Thank goodness he did because after I studied the photos in the book I realized that some of my proportions needed work.

1. My suspicions about the shape of the dome were indeed correct. I have drawn something more Brunelleschi like when it should be like the dome of the Pantheon with a more semi circular shape.

2. The scale of the urns are incorrect. The upper urns on the corners of the building need to be larger in scale while the urns on the pediments need to be smaller.

This is why it is very important to step back and observe your under drawing before proceeding with the painting. You need to step away from the drawing and think about it for a while. I am often very excited to begin painting and I have made many mistakes by not taking my time to step back from the drawing before proceeding.

Again I am thankful that I have noticed the necessary revisions now. I have spent many hours on the drawing alone and it can be ruined in one minute if the proportions and the details are incorrect.

Onward and upward!

Completed Drawing

2008-12-15T17:34:00.000-08:00

At long last the under drawing is complete so it is time to step back again to see if I need to make any revisions. I am not completely happy with the shape and overall height of the dome so I may have to go back and redraw. It is good to make these corrections now because once you have applied your first wash, that's it! When erasing be sure to use a kneaded or rubber eraser, which is much less damaging to the watercolor paper. Standard and pink erasers will damage the surface of the paper and undoubtedly leave colored marks all of your paper.

Once I make any corrections I will be ready to move on to masking the drawing for the actual painting process. So stay tuned......

Adding Details

2008-12-15T17:20:00.000-08:00

Once this stage is completed I need to continue adding the architectural details to the drawing. The details include the carved flower rosettes in frieze and the small brackets in the architrave of the entablature. At this point my eyes are nearly crossing but I enjoy the complete focus of drawing in the little details. They are what enlivens the structure and brings them to life..

Now that I have finished transferring the main body of the building I need to go back over the drawing and fill in any missing lines and start adding the numerous details. For repetitive details such as urns, balustrades, and sculpture I draw one of them in detail, trace over it, and transfer them in repetition on the watercolor paper.

Transfer of Drawing

2008-12-15T16:37:00.000-08:00

I have completed the elevation drawing and am now transferring it to my watercolor paper, which I have secured to my drafting table. I typically use 300lb Arches hot press for it's smoothness and I wont have to pre-stretch the paper due to its weight and thickness.

I have turned the trace drawing face down on to the watercolor paper and will re-trace the back of the drawing to transfer the image. Fortunately the building that I have chosen to draw is symmetrical so I don't have to worry about the image being drawn backwards. However, if your drawing was asymmetrical and you wanted the image drawn correctly in terms of how you actually see the building then you would have to trace on the back side of the drawing and then transfer. Or if you are feeling confident about your measurements and details you could draw directly on your watercolor paper with your pencil. I have been successful with this method but you have to use caution to make sure you use a light pencil and a light hand when drawing. Watercolor paper shows indentations very easily. Especially the thicker papers. If you have to erase you don't want to end up with ghost lines.

Temple of the Four Winds-Under drawing

2008-11-14T15:13:00.000-08:00

For the under drawing I begin on inexpensive trace paper rather then the final watercolor paper. The trace paper allows me to easily make corrections and make necessary overlay sketches. Once the under drawing is complete I will transfer it to watercolor paper.

Depending on the size of the structure I typically make my drawings 1/4" = 1'-0". For larger scale buildings I may reduce it to 1/8" scale. If it is possible to visit the structures I will measure as many details as possible, coupled with detail photos that I will organize back in the studio. Unfortunately in most cases I am unable to visit the buildings in person so I must rely other similar architectural details that I have previously measured, architectural reference books, and also my instinct of scale and proportion.

I always begin by laying out my center lines and overall proportions. Once I am pleased with the proportions I will then commit to drawing in the details. You don't want to spend a large amount of time on details and then realize that your proportions are all off. I have made the mistake many times so trust me when I say that it is frustrating to have to erase all of your work. This is also why it is best to start on trace paper. You want to avoid erasing as much as possible with your final watercolor paper. I will discuss that more in the further steps of the process.

For the tracing paper and the final watercolor paper I like to use a 0.5 lead holder, which keeps your lines fine and precise. The lead weight that I typically use is H or HB. You can use a little softer lead like HB for the tracing paper since you need it to transfer easily to the watercolor paper. For the watercolor paper I will use a harder lead because you want the lines to be very light for the final painting.

The Temple of the Four Winds-Castle Howard

2008-11-09T11:49:00.000-08:00

It was an unusual way for me to find one of my subjects to paint. Normally I select my subjects from books or from my travels. But I discovered the Temple of the Four Winds as I was watching the original film version of Brideshead Revisited with Jeremy Irons. It was a later scene in the film that included a conversation between Charles Ryder (Jeremy Irons) and Julia Flyte (Diana Quick)as they stood under the portico of the temple.
I was immediately drawn to the romantic appeal of the building, which was appropriate for the scene. The building is a part of Castle Howard in North Yorkshire, England. It is one of the grandest of the surviving country estates of England and it is still privately owned by the Howard family.
Originally known as the Temple of Diana, it was designed in 1724 by the architect, John Vanbrugh (1664?-1726). Palladianism had reached an all time high of popularity in England at the time and the temple is inspired from Andrea Palladio's famous 16th century Villa Rotunda in Vicenza. The temple was not completely finished until 1738, almost twelve years after Vanbrugh's death.

It could easily be recognized as a folly but it was actually used for refreshment and reading. The cellar below was used by servants to store and prepare food before being served to its many guests.

I am drawn to the severe and structured baroque detailing, the heavy rusticating, and the strong neoclassical portico's, contrasting with the lifelike and delicate sculptures above the steps. The carved urns above the portico's and on the four corners of the building are particularly extraordinary.

Since I have not been fortunate enough to visit Castle Howard and the Temple in person I have to rely on many assumptions and other previously measured details for creating the scaled under drawing.