Beauty in Transmutation

Written By: Donna Rhodes | Issue: September - 2022

Reduction: carefully cooking down a wine or sauce until most of the liquid evaporates. What remains is concentrated yum.

So it is with art and abstraction. For years, Jane Smithers has focused on artistic reduction. She condenses subjects like trees, flowers, mountains, and sky into free-form strokes, smears, ribbons, bands of color, and marks, bold and fragile.

When abstract art is done well, details that define a subject are dismissed. What remains are shapes, forms, colors and textures. The energy of the object/feeling that originally inspired the painting endures, often intensifies. Jane is a master of this magical process.

Travel back to 2003 and take 2-3 minutes to study her cover. Move your eyes around all the compass points. What do you think inspired the painting? Was it Nature? A meadow/mountain vista? A marvelous field of poppies?  Dancers in brilliant crimson costumes? Something else entirely?

Take five slow, deep breaths as you lose yourself in the image.  On your fifth breath were you feeling the movement in the forms? Where did your eyes take you? What is the feeling attached to your interpretation of this work? 

Imagine a palette knife in your hand. Loosen your arm. Swirl it in the air. Imitate the motions/technique you think Jane used to apply paint to surface.

What words would describe the knife’s movement? Bold, timid, loose, tight? Based upon your reaction to the painting, how would you title it? Remember, when diving into abstraction, there are no wrong answers. 

Now that you’ve participated in a mini-critique, read what Jane has to say about her journey of Change.

“From large format oil paintings to an expanded repertoire of works on paper, my art adventure continues to grow at an ever-accelerated pace!

“New York City and the Metropolitan Museum of Art! In 2013, I made a decision for “Change,” not only a change in residence but a change that greatly affected my art. As I have always believed that change is an essential part of life, to be welcomed with an open heart … this time it afforded me space and opportunities to learn and grow beyond my wildest dreams.

“A brownstone on the edge of Central Park and a short walk to the Metropolitan Museum of Art became my neighborhood. As a volunteer in the Conservation Objects Department at the Met, I am surrounded by 150 years of archival material, conservators and first-hand access to treasures from around the world.

“And!  I have had my art in three exhibitions in this world-renowned museum!

 “My art has taken several new directions: Master Copies, concertina journals, portraiture and small oil studies.

“Master Copies – a disciplined study of Master paintings to replicate their exact techniques, medium and processes. Specifically, Rubens, Bouguereau and Vermeer. These are rendered in charcoal, pencils, and oils.

“Concertina Journals – expansive journals (17 inches long) in watercolor. Some of these include Central Park and the Metropolitan Museum of Art. 

“Portraiture – studies in oil from live models.

“Small oils – plein air studies of marshes, dunes, forests and cityscapes.

“The city has afforded me opportunities to draw and paint at the Met, The Society of Illustrators, The National Arts Club, Urban Sketchers, Minerva Durham’s Spring Studio, The New York Academy of Art, The Art Student’s League and many more.

“As I have always felt that part of my creative journey is to share this gift, I continue to mentor and guide others through online classes, in-person trips to museums and outdoor drawing and painting classes.”

“Creativity takes courage.” – Henri Matisse

To learn more about this dynamic artist and her works, visit janesmithers.com