It’s officially pumpkin season. At least, you can probably find pumpkin-spiced products for sale somewhere in your area — thanks, Starbucks. According to Bustle, there’s a psychological reason why we’re all so “obsessed” with autumn. According to professor of psychology Amy Jane Griffiths, the cooler weather and holidays associated with the season hold a certain nostalgic value. “We all crave the comfort and security that comes with traditions and predictability,” explains Dr. Griffiths. “[Traditions] may relate to joyful experiences with friends and family and provide something to look forward to.” As temperatures drop in many parts of the world, we take comfort in watching cozy movies for “psychological warmth,” curling up with a book, or even prepping our homes with seasonal decor.
Vibrant paintings reflect artist?s spirit
Cat Roberts? enjoyment and energy for life can be felt with her first smile. Her brightly colored paintings, done to please only her eye, display her joyous outlook.
Considering herself primarily a ?colorist,? the Atherton artist enjoys bringing her pictures to life by using unnatural color.
?The colors aren?t representational,? said Roberts. ?I just enjoy painting with them.?
Her sources of inspiration are personal snapshots taken during vacations and published photographs. However, the results are not precise renditions. Roberts allows ?happy accidents? to take the picture to different places. This is why a blue or pink tree might be found in some of her work. Each color is used to add to the mood she is trying to emote. A sense of great happiness from organic beauty can be felt in each of her pieces.
A series of four paintings, ?Tahoe,? capture a building and the forest in the changing seasons. The winter and spring paintings use pale blues while summer and fall add to the previous colors with darker undertones. ?Yosemite,? a painting using darker reds and oranges, is currently being shown in Redwood City?s Hall of Justice.
Originally from Georgia, Roberts met her husband while they were in high school. They married and moved to Washington D.C. where she taught at a local junior high school. Roberts and her family relocated to the Bay Area in 1975. She then enrolled at Canada College to obtain an associate of arts degree in interior design. Courses for this degree included several art classes, such as composition and life drawing. While working as an interior designer, Roberts continued studying art at San Jose State University. Though she enjoyed combining colors, fabrics and textures, Roberts jokingly states that she wasn?t disciplined enough to continue designing for other people.
She began painting in a Portola Valley studio and three years ago moved her canvases and brushes into the 1870 Art Center in Belmont. Roberts? infectious laugh can almost be heard through the bright, playful colors that hold to the canvas. Electric blues, shining yellows and vibrant greens are often seen in her work. Each piece adds energy to the room by exuding Roberts? bright personality.
In addition to creating her personal work in her studio, Roberts has also acted as the president of the art center?s board. During this two-year stint, Roberts encouraged the continuation of various committees for art classes and the public gallery. Giving priority to 1870 artists, exhibits of sculpture, photography, painting and weaving are shown in the gallery.
Roberts is not the only member of her family involved in the arts. Her husband is on the board of the online Silicon Valley Art Museum. Created in 2000, the Web site fuses art and technology allowing a variety of artists? work available to everyone. They provide biographical and artistic information, discussing each person?s artistic process. It also offers art classes and programs for teachers to use in the classroom.
Roberts has an upcoming show at the Gallery House in Palo Alto beginning in March.
The Lady of Shalott by John William Waterhouse
“With glassy countenance/ Did she look to Camelot,” wrote English poet Lord Alfred Tennyson in his 1832 poem, “The Lady of Shalott.” 19th century painter John William Waterhouse chose to recreate these lines with oil paint on canvas (via Tate). In the scene, the cursed “Lady of Shalott” floats downstream, presumably to Camelot. Dressed in white, she’s surrounded by colorful fall foliage — even her hair is a rich, autumnal bronze. The artist frequently looked to Tennyson’s poetry for inspiration, according to Tate. Influenced by the Pre-Raphaelite Brotherhood of painters, Waterhouse had a habit of depicting tragic female heroines, and the poor Lady of Shalott is no exception (via Britannica). Visit the painting in person at the Tate Britain museum.
Autumn, Portrait of Lydia Cassatt by Mary Cassatt
In this 1880 oil on canvas painting, American Impressionist Mary Cassatt depicts her ailing sister, Lydia. Lydia sits on a park bench in autumn, wrapped in a blanket to protect her from the outdoor chill. She wears a black bonnet on her head, contrasting with her pale features (via The History of Art). Sadly, Lydia passed away from Bright’s disease two years after her sister finished this portrait. Though Mary Cassatt didn’t often paint her subjects outdoors, Lydia proved to be the exception, appearing in several “plein-air” works (via The Met).
Autumn Maples with Poem Slips by Tosa Mitsuoki
On a six-paneled silk screen, Tosa Mitsuoki depicts the bright foliage of a Japanese maple. Mitsuoki was active during the early Edo period, and served as a Court Painter beginning in 1654 (via Art Institute Chicago). Hanging from the fiery maple are tanzaku, slips of paper inscribed with seasonal poetry — couriers helped Mitsuoki incorporate written elements into the piece. The six-paneled maple is part of a set; an opposite-facing flowering cherry tree represents Spring.
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“My paintings are monumental, filled with colour and texture. The colours in my paintings are full of symbolic meanings – real human relationships are transformed into colour allusions. In interiors, the paintings sound authentic and contemporary,” says the artist.
“Playing with shapes is interesting because the shape is seen as a philosophical object of reality, which can be interpreted and re-discovered every time.” – She says. Even the Madonnas painted by the artist are closer to abstraction than portraiture.
The artist reflects on phenomena and states of being through combinations of colours and shapes, giving flesh to the invisible and intangible. The artist herself says that colour is the essential element of her work, and that the forms, their concreteness and rhythm, complement this idea.
Irina Troma is a professional painter, earth artist and educator. She is the founder and director of the adult painting studio “My Colour”. Based on her pedagogical experience, she has created an original educational colour art programme for adults.
2022, Sv. Jonas Gallery, Vilnius
2021, Vilnius University Botanical Garden Museum;
2019, Draugystės Exhibition Hall, Visaginas;
2018, Rūtų Gallery, Klaipėda;
2018, Friendship Exhibition Hall, Visaginas;
2017, Arka Gallery, Vilnius, Lithuania;
2016, Restaurant Aleksander, The Hague, The Netherlands;
2016, Lithuanian Army Cultural Centre, Lithuania;
2013, Loreta Art Gallery, Alytus;
2013, Vilnius University Botanical Garden Museum;
2011, Gallery Galera, Vilnius, Lithuania;
2010, Trakai Voke Palace, Trakai Voke;
2010, Russian Art Gallery, Vilnius, Lithuania;
2004, M. and J. Šlapeliai Museum, Vilnius, Lithuania;
This artist was acknowledged by the Ministry of Culture of the Republic of Lithuania
