Marbles are popular subject matter among realist painters due to their distinctive color, shape, and reflections. Here, I’ve re-fashioned this classic topic into a commentary on those days when I feel like I am losing my marbles, one by one. (Perhaps you can relate.)
I designed this image with lots of white to provide a bright, reflective backdrop for the multi-colored marbles. Notice how the areas around the marbles take on different tones, depending on the marble closest to it. To achieve this subtle effect, I didn’t use pure white anywhere in the image - every bit of white has some other color mixed in.
Losing My Marbles was featured in a 2012 article about my work in Southwest Art magazine. There is also a companion piece to Losing My Marbles called Lost My Marbles , which depicts a similar scenario but with fewer marbles left in the jars. The one you like best may depend on just how far you’ve gone!
All Richard Hall prints are limited edition and hand-signed and numbered by the artist.
All of our prints are finished with a coating that protects the print and enhances light-fastness; we use the highest quality pigmented inks with an estimated lifetime of 118 years. We fully guarantee our prints, and if there is ever a problem with fading, we will replace it.
Canvas giclées: Edition of 50 (for all sizes), signed and numbered on the back of the piece. Archivally mounted or stretched and hand-coated with protectant. Framed canvas giclées are hand-framed in our studio with an espresso-colored frame with gold-tone lip. Unframed canvas giclées should not be framed with glass.
Paper giclées: Edition of 250 for 12” x 16” sizes; edition of 125 for 18” x 24”. Printed on high-quality, acid-free paper and comes with a hand-cut mat that fits into a standard-size frame. We recommend that you use a frame with glass to ensure longevity of your paper print.
For 35 years, Richard Hall enjoyed a successful career in fine art, using his talents to explore the opposing worlds of abstract art and traditional still life. But chance intervened when a mischievous toddler added her two-cents worth to one of Richard’s still life settings, prompting Richard to see his work in an entirely new way. READ MORE
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