COVID-19 info for December 2021: We're still open online! We continue to make occasional adjustments to order fulfillment to accommodate local health regulations and supply chain issues. We now accept PayPal, major credit cards and Venmo (via PayPal) for all online and telephone orders, but we had to permanently discontinue in-store pickups, replacing them with free expedited domestic shipping on art prints. Orders are fulfilled on schedule by us or directly through our manufacturing partners, but some minor delays may occur throughout the holiday season.
Pencil sketch from Elspeth's research
journal in March 2003
Elspeth's new portrait of Elisabeth, the mother of John the Baptist, will be the 44th oil painting in the Women of the Bible Collection. It was completed to meet the production schedule for Women of the New Testament by Camille Fronk Olson. The book, currently in press, is scheduled for release through Deseret Book later in 2014.
Dimensions (width x height)
14 in. x 20 in.
Milestones Research begins - January 2012
Composition begins - September 2010
Brushwork begins - January 2014
Methodology This section presents only one or two items that may be of interest to professional artists, amateurs, and others interested in the work of the Studios. The following journal entries are excerpted from Elspeth's painting diary, and emphasize the important influence of studying original artworks throughout the creative process:
19 November 2013
Yesterday it was time to refill the creative tank and I did. I had felt in my bones that the new "sacred gifts" exhibit at BYU's MOA had artistic answers for me. So yesterday morning, tickets in hand, Mom and I slipped out of the house and spent a good chunk of the morning at the museum. We enjoyed (savored, really) Frans Schwartz, Carl Bloch, and Heinrich Hoffmann. I was surprised that Schwartz actually contained the most answers, this time. I've never seen an artist work so wet—the paint still seems to be dripping a century since he painted it. And his reflected light! O my.
26 November 2013
Seeing Frans Schwartz's paintings has changed me. I've always wanted to exude more painterliness—to luxuriate in the freedom of brush strokes and the energy and elasticity of what I consider "real" painting.
Others might not perceive a change, by my highlights are more sculpted—having a texture of their own, which is independent of the form without "breaking form" as artists would say.
8 January 2014
I've blocked-in Elisabeth's face and am already thrilled at the sweet, peaceful expressiveness of the piece. She's got the loveliest ear I have yet painted and, as for her bones, she is one of the best boned-figures I've ever seen. Everything about her is ethnic elegance.