Swamp Dogs: A Series on Metal

More than a year in the making, George Rodrigue’s Swamp Dogs combine print, photography and varnish on large sheets of metal, resulting in a unique perspective of the Louisiana landscape. Beyond materials, however, the series originates with two stories.  Rodrigue, a Cajun artist for forty-five years, illustrates Louisiana lore including not only the loup-garou, butContinue reading “Swamp Dogs: A Series on Metal”

My Favorite Painting

The Loup-garou is my favorite painting. I first saw it on a Sunday afternoon in 1991, a day that changed my life. I walked into the Rodrigue Gallery in the French Quarter to visit a friend, the gallery manager. At the time, I worked at Ann Taylor while attending graduate school at Tulane University, and I worried as my college job morphed intoContinue reading “My Favorite Painting”

Blue Dog Glass and Other Unique Rodrigue Items

Although partial to paint on canvas, George Rodrigue experiments often with other mediums, creating the unexpected within his signature subjects.  Printmaking is the most obvious other than painting, particularly his Cajun festival posters and Blue Dog silkscreens.  (click photo to zoom, a cameo glass vase within Rodrigue’s home; the painting Loup-garou, 1991, hangs in theContinue reading “Blue Dog Glass and Other Unique Rodrigue Items”

Mardi Gras Silkscreens: A History

George Rodrigue created his first Blue Dog Mardi Gras silkscreen in 1992. He designed the simple, strong image by hand, drawing the outlines for each color on a separate sheet of tracing paper to make the six-color print, and emphasizing the traditional Mardi Gras colors of purple (justice), gold (power), and green (faith). The printContinue reading “Mardi Gras Silkscreens: A History”

Blue Dog Relief

As I’ve mentioned before, it was many months before George Rodrigue returned to his easel following Hurricane Katrina, and when he did, the paintings were dark and fragmented, far different from the bright colors and strong designs normally associated with the Blue Dog Series. Not only was he without a studio space to work, butContinue reading “Blue Dog Relief”

Blue Dog: The Dark Period, 2006-7 (Paintings Following Katrina)

Following the chaos of Hurricane Katrina in 2005, George Rodrigue shifted his attention from Bodies, a collection of paintings and remastered digital prints focused on the female nude, to Blue Dog Relief. The New Orleans gallery reopened in January of 2006; however, the positive nature of George’s paintings seemed out of place. Our staff workedContinue reading “Blue Dog: The Dark Period, 2006-7 (Paintings Following Katrina)”

The Jazz Fest Poster: Part 2

With this post, George and I remember Mrs. Frances Fernandez, long-time President and Board member of the New Orleans Jazz Club, who dedicated her life to the appreciation of New Orleans’s jazz musicians. We also remember Bill Hemmerling, a beloved local artist who painted the 2005 poster for the New Orleans Jazz and Heritage Festival.Continue reading “The Jazz Fest Poster: Part 2”

The Jazz Fest Poster: Part 1

In 1994 when first approached by ProCreations, the poster company for the New Orleans Jazz and Heritage Festival, George Rodrigue hesitated. “It has to be my rules,” he said: “I want to paint Louis Armstrong, and I want to paint him without the Blue Dog.” Up until this time Jazz Fest posters included only musiciansContinue reading “The Jazz Fest Poster: Part 1”

Blue Dog: The Abstract Paintings, 2001-2003

George Rodrigue completed the Xerox Collection in early 2001. He spent the next several months building his studio in Carmel, California, and by that summer we were settled in Carmel, remaining there most of the next two years. Spurred on by the excitement over his new studio, he painted ‘round the clock, and I watchedContinue reading “Blue Dog: The Abstract Paintings, 2001-2003”

Blue Dog 2000, The Year of Xerox

Although most collectors and fans know by now that George Rodrigue avoids mass-production, products, and other projects that might be described as ‘sell-out,’ there was a period of time when I (and I daresay much of the gallery staff) approached each day on the defensive. The late 1990s brought a flood of projects his way,Continue reading “Blue Dog 2000, The Year of Xerox”