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Deborah Nourse Lattimore
"Frida Maria"
Original Signed Water Color "Study" Painting
This original painting was used as art for a book of Ms. Lattimore's entitled:
"Frida Maria - A Story of the Old Southwest"
Author, Illustrator, Artist and Dept. of Defense Spokeswoman
Excellent Condition.
16.5" x 15.5"
Hand Signed and Inscribed (see pics)
(It appears to inscribed to Ami Kirby, well known art historian for the Topanga Canyon Art Scene that has produced a number of very well known artists, writers, actors and filmmakers.)
Text or email with any questions...thank you.
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The Artist:
Deborah Nourse Lattimore has illustrated such diverse books as "Zekmet, the stone carver: a tale of ancient Egypt"; "Frida Maria: a story of the old Southwest"; "Why there is no arguing in heaven: a Mayan myth"; "The fool and the phoenix: a tale of old Japan"; and the revealing "I wonder what's under there? A brief history of underwear."
In her own words Ms Lattimore states, " ...My beginnings as an artist. Hm. I've got to say that being taught to look closely at things as well as to remember those things and how the weather made leaves rustle and bits of dried leaves, blossoms, little tufts of wild daisies fly like little drunken fairies, and so much more!, taught me a great deal about being an artist; my grandmother showed me that world. She was a most talented water-colourist and we spent hours daily drawing and painting. My first art show was when I was nine years of age and by the time I was eighteen, well, I'd had quite a few shows in my home town, other small cities, and in New York, too. My art teachers were a remarkable group, lucky me, and two of them, Dr. Joan Allemand and Mr. Curt Miller, were considerably better than any art teachers I had in college or art school later on. I was encouraged to do whatever art struck me as being good to do in that moment. I was given art supplies and I was warmly encouraged. I cannot stress this enough: having kind, insightful guidance, coupled with a good space in which to work and loads of supplies were what put me on the artist's path, and it was much more than just a leg up. Their support is with me still.
For inspiration...I loved Arthur Rackham, Edmund Dulac and N. C. Wyeth and I've got to admit, I had a high school interest in Beardsley, Escher, Klee, Picasso, Van Gogh and the Fauvres. If you ever read Van Gogh's complete letters on art, primarily the ones he wrote to his brother with delicate brown ink-line art, you are in for a spellbound adventure. I loved reading Jules Verne, Richard Halliburton's "The Occident and the Orient", The Collected Arabian Nights, and Lawrence's "Pillars of Wisdom". I also loved my copy of Grey's anatomy, which fell apart because I'd handled it way too much; same thing for Vanderpool's drawing books."
Her advice?
"1. Know your own work. Follow your own thrills, be it drawing realistically or graphically or even, and always floundering through media; do it.
2. Drop your critical voice. There is a decided difference between discerning where your work needs change and a critical voice that simply sits around, somewhere vaguely behind you, and spouts out how bad it all is.
3. The process IS the art. If you put something, anything, onto a piece of paper, you are on the road. 4. Change is inevitable; but keep the first pieces, too, because you can and should mine your own collection of ideas, visuals, dreams, attempts, because in those works you are speaking to yourself in a way no one else can"
...and..."I love to go against the stereotypical color schemae wherever I can: a brown animal could go blue, a benevolent character could be cool, a dark and mystical, dreamy element could go hot; it's fun to play with the change, and even if I do not end up using those changes, just having done the experiments helps me to find my final, fully finished work. One thing I really love a lot is light source (or the lack of it), and changing the color of the light-source has been a current interest of mine."
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Email or Text any Questions.....thank you.
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