Pink Pajamas

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Pink Pajamas
48 x 32 inches 
oil on linen

This painting was inspired totally by my daughter Naomi. She had asked for a blue quilt because in late 2014, blue was her favorite color (today it is purple).  In early 2015 I began to piece it, Naomi even helped with some of the machine sewing.

My goal with this painting was to capture Naomi’s essence on a lazy morning. The kind when it’s bright and sunny outside, however you’re having so much fun hanging out inside that the thought of changing out of your PJs just seems like too much effort. I am happy with how this painting turned out.


82nd National Midyear Show, The Butler Institute of American Art, Youngstown, OH - Awarded Honorable Mention
10th Annual Expressions Portrait Competition and Exhibition, Artspace Herndon, Herndon, VA - Awarded 2nd Place

For pricing and availability:

Please send all inquiries to contact@elizabethfloyd

All Available Studio Paintings

Interested in commissioning a portrait of a loved one, I would love to paint it. Please send all inquiries to contact@elizabethfloyd

Pomegranates and Ginger Jar, 9 x 16 inches

Pomegranates and Ginger Jar, 9 x 16 inches, oil on linen

Pomegranates and Ginger Jar, 9 x 16 inches, oil on linen

One of the best things about painting from life is that each painting turns into a seasonal record. Pomegranates are a fixture in our house starting in December going through February. I always welcome seeing them in the stores because it signals to me that we are truly entering the winter season.


Did you know that I accept still-life painting commissions? Send me an email if you would like me to create a special piece of art for you and your home.

Make Art Everyday in 2019


I want to make art everyday in 2019. This year marks my ten-year anniversary of leaving an architecture career to pursue fine art. I want to do something special this year and committing to making daily art sounds like a great way to celebrate.

This project will be in addition to studio paintings I create, I plan on completing oil-sketches, watercolors, and doodles. The point of this project is to explore and to push myself even when life and health gets in the way. My husband, calls it my focused time for R&D.

In order to make it a more manageable project, I have set up a few ground rules to help keep its scale from ballooning into out-of-control crazy proportions…

My rules are:

  1. Make art everyday. I can use any medium, any size, and any format I want to on any given day. (Even if all I can create is a one-minute doodle due to being sick or having a sick daughter, it counts as making art!)

  2. Do not give up! This is important, because having a daily practice harkens back to my early days when I left architecture in 2009.

  3. I must photograph and share each day’s art. (I will be posting daily on Instagram, you can follow me at @elizabethfloydart, and I will be using the hashtags #makearteveryday, if you want to follow along or join in!)

Sunflower, 9 x 20 inches

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9 x 20 inches 

oil on linen

This is was the only sunflower I brought into the studio to paint during the summer of 2018. The summer flew by, and flowers can be so fleeting.

This painting is available at the Principle Gallery, Alexandria. 

Principle Gallery | Alexandria

208 King Street, Alexandria, VA 22314

For pricing and availability:

phone: 703.739.9326

Visit the website link to see other paintings the gallery has of mine.

Commission a Peony Painting

“David Harum” Peony, 16 x 9 inches, oil on panel

“David Harum” Peony, 16 x 9 inches, oil on panel

“David Harum” Peony was completed last year by commission, it was a surprise birthday gift.  I take a few paintings commissions of specific flowers I grow each year, and these paintings make fantastic gifts.

My floral still-life paintings are only completed from life when my garden flowers are in season.  Peonies start opening the first week in May and continue blooming through early June. 

Reserve your commission now and secure my studio time during peony season.

Email me if interested!

Special Oil-Sketch Sale

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Available for a short time, are some small oil-sketches I have completed this year and in previous years.

All paintings are alla-prima paintings, meaning they have been started one and completed in one painting session. These sketches have become a part of my studio process as I have shifted to creating larger and more complex paintings. These are simple paintings that are expressions of one moment in time. The flowers are from my garden.

Please stop by and check out the special sale!

They make for great holiday gifts to loved ones and dear friends.

IGOR Exhibition in Santa Fe, NM

Friendship, oil on linen, 30 x 40 inches

Friendship, oil on linen, 30 x 40 inches

This past weekend was the opening of the International Guild of Realism’s annual juried exhibition.  This year it is being held in Santa Fe, NM at the Sugarman Gallery. 

 I am honored to have my double portrait painting, Friendship, included in the show.

 Here are a few photos of the exhibition taken by my good friends, Joe and Deb Hutchinson.  They are artists living in Santa Fe.


The exhibition will be going on through October, so if you are in Santa Fe, stop by and take a look :)

Another Portrait of Naomi Along with Some Other Thoughts...

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Earlier this year I completed this portrait of my daughter, Naomi, it has all the aspects I love exploring in a painting, a particularly challenging light effect, a use of expressive color, and my beloved daughter wrapped in the first quilt I ever completed.

In June this painting graced the cover of the local magazine, Elan.  I was honored to have Natalia Megas write an article about my career path and work.


And today, as I write this post, I feel fortunate to be an artist and to create on a daily basis.  Especially as the person in my life who had a profound influence on the interests I have cultivated as an adult is no longer here. 

Last week my grandmother passed away, and it is her influence on me as a child that led me to be committed to “making and creating” my way through life.  I have been thinking a lot about her since I heard the news that she had died and I keep asking myself to remember the various ways she shaped me.

One experience stands out to me the most.  It took place when I was nine years old and I was staying with her for an extended visit.  When I arrived the only clothes packed were play clothes, nothing nice enough to wear to church.  This was unacceptable to Grammer (what the grandkids called her), however she immediately solved the issue by sewing a quick shirt and skirt ensemble for me.  I still remember the blue calico pattern of the top, it was one of her fabrics she would use in her quilts. Grammer was a quilting fanatic at the time, and through this experience, I learned that it was possible to make and create your way out of problem or situation.

My desire to always have some sort of sewing project going can be directly related to her influence.  I will miss my grandmother, however I know every time I sit down to quilt or sew, I will be with her in spirit. 

This post is more personal than I typically like to publish, however, I am hopeful by sharing these thoughts and feelings I will better be able to metabolize the grief I am currently experiencing and begin creating again.

Thank you for reading,  Liz

Ring, Sparrow, Phoenix

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Ring, Sparrow, Phoenix

24x 36 inches, Oil on Linen

I paint the flowers I grow.

I love interweaving the flowers grown in my garden into the paintings I make, taking the fleeting moment of a flower’s season into a more permanent experience. A flower in a vase will last only so long, but a flower in a painting will stay with you forever.

This painting is an ode to marriage. Celebrating the fidelity , the   The ring laying on the tabletop represents fidelity of love, the sparrow on the Pennsylvania redware pitcher symbolizes industriousness industriousness required to make a marriage good and the phoenix on the Imari bowl is a reminder of the chance for renewal and growth when being a part of something bigger than oneself.

Select 50 in the International Portrait Competition

Friendship, 30 x 40 inches, oil

Friendship, 30 x 40 inches, oil

This week is the Portrait Society of America conference, here in Reston, Virginia, and it is with a sense of honor that I will be attending and that the double portrait of my daughter and her friend was chosen as one of the top 100 entries of this year's portrait competition where 2,733 entries were submitted.

After six rounds of evaluation they selected 23 finalists to bring their work to the conference for on-site judging, 27 certificates of excellence for special recognition and a Select 50 work that had distinction.  My painting, Friendship, was part of the "Select Fifty" that made it through the multiple rounds over the three-day jurying process.

I am so grateful that this portrait received this distinction. Friendship is a painting long in the making, and I was inspired to create a double portrait that celebrates Naomi's long-standing relationship with her friend. They have been regular playmates since they were two years old and are still great friends. The photo references for this painting were taken during a playdate in June 2016 when I asked the girls to pose for me and to have fun with it.

Spring Classes are Starting Soon

Narcissus Pink Charm, oil, 9 x 14 inches

I will be teaching three classes this Spring, starting just after Easter.    All have openings and if you are interested in painting a bunch of spring flowers, this is the time to do so!


Floral Still Life with Oils
Taught at the Arts of Great Falls
Wednesdays from 2 to 5 PM

Painting with Oils
Taught at the Arts of Great Falls
Wednesdays from 6:00 to 9:00 PM

Weekly Semi-Private Art Classes
Taught in my home studio and limited to a maximum of 5 students
Saturdays from 9:30 AM to 12:30 PM

Idea-Sketchbook Archives: Daniel Sprick Workshop

By nature, I am an obsessive note taker. I have piles of “idea-sketchbooks” and every so often I will pull out an old one and read through my notes.

Recently I was reading through an idea-sketchbook from January 2013 and I came across my notes from a Daniel Sprick workshop I took at Studio Incamminati. I want to share some notes I wrote down during the workshop describing Daniel’s methodology and thought process.

Rory McEwen: The Colours of Reality by Martyn Rix


Rory McEwen: The Colours of Reality by Martyn Rix

I first became aware of the work of Rory McEwen when I read this blog post on Katherine Tyrell’s Making a Mark blog. Then by coincidence a dear friend of mine gave me this monograph of his work, and all I can say is that I often lose an hour or more when I open this book because I spend so much time looking at each plate.

Rory McEwen’s career was long and varied, intermixing his interest in botanical art and jazz music. This book covers both, though mainly focusing on his art.


I particularly like his stark compositions of flowers, how they are placed on backgrounds that are totally void of anything, thus really focusing attention on the minute details he captured and recorded. His technique most often employed watercolor on vellum, a method that employs a very dry application of highly saturated watercolor to its support.



However, there is one small section that deviates from his typical technique, its of his exploration of watery watercolors and grasses. These images really capture my imagination, because of the variety of line and form in these pieces. Some areas of the watercolors were allowed to bloom and blossom, creating fuzzy and soft edges, and then there were areas of rigorous precision and edge, much like his more typical work.


Living Seasonally and My Changing Studio Process

I am a homebody by nature. I love being home, working in my studio in my garden.

I also love the seasons of the year.

As an artist, I strive to always paint seasonally, and before this year, this always meant that I would paint what is blooming in my garden. Painting only from life. However when my family moved, my studio situation changed, and I no longer had a large northern facing window. Now my lovely and larger studio has only one window that is smaller in size and faces west. This change in the fundamental design of my studio layout has forced me to reassess my studio practice. And I am happy to share that I am adapting and really liking how it is changing.

I am still committed to recording the seasons with my paintings, but instead of painting the flowers that are blooming in my studio, I am going outside in painting in my garden.

 This year I’ve committed to learning to paint in plein air, and have been enjoying the immediacy of this painting practice. It requires intensive concentration for short spurts of time because the light changes so rapidly. In two hours the sun shifts in the sky, thus changing the angle of shadows and highlights, and even the color notes observed.

[ Image of azaleas, image of watercolor sketch of crocus and Hyacinth]

In the spring, I dipped my toe in sketching and painting oil sketches. 

[Image of foxglove, close-up and distant ]

As the summer has progressed, painting in plein air has become a part of my life. I paint a sketches regularly. Typically in the morning before I do anything else. It helps me connect with the season and slow down and observe how my garden is changing.