The houses in Stonington, Maine continue to be an inspiration. Snow melts and blows away quickly this close to the ocean so I haven’t managed to get out painting on a day with both sun and white stuff, but that’s the next project. Meanwhile, a small painting (16 x 12) of a house with blue awnings on the west side.
On day last October I meandered down the coast and finally settled on a view across the harbor to the Town of Stonington in the late day sun. It was cool and clear and I managed to dodge the group of photographers with HUGE lenses who were also hunting for the perfect light; that trophy view of little white structures gamely climbing the hill above the ocean.
Many thanks to the Stonington Free Library for providing shelter and a place to check my email. The librarian was endlessly patient with folks who couldn’t remember the last name of the author (Wilder) or the title of that series about Merlin (which turned out to be the Arthurian Saga by Mary Stewart). It was a wonderful day.
Little White Town I, Stonington, 18″ x 36″, oil on panel
I spent a lovely week on Great Spruce Head Island a few years back and have sketchbooks, drawings, and photos that I’ve been working on ever since. The color swatches alone are enough to bring up detailed memories of the morning light on Penobscot Bay and thunderstorms on hot afternoons under the spruce trees. This is a study of the rock that ends Double Beaches like a punctuation mark, 12 x 16, oil on panel:
I’ve set up the pastel corner of the studio and decided to try out my new idiom in that media. My new effort is centered around allowing information to accumulate: marks that describe color and volume coming together over the entire surface of the work. I’ve been working at this in oils for a few months and it makes a kind of perverse sense that it is an easier thought process in chalk.
Frenchboro, Wharf with Fishing Gear, 18 x 24, pastel on board
Now that I have the studio set up to work with pastels it seems only logical to start getting my hands dirty. . . this is a piece from our recent trip to Grand Manan.
6 x 18 inches, pastel on board
I have four new blog entries started and material just keeps coming; the title of this blog was never more apropos than the bees and art in spring 2014. It’s all very exciting but very little is actually being posted. To remedy that, here’s a quick look at a study for a larger painting now on the easel of Frenchboro Harbor. Done from studies and photos taken last August, this study represents a departure for me in terms of image and paint application.
Frenchboro Harbor Study; Big Trees 16″ x 20″, oil on panel
Here’s a detail of the paint: applied without medium a la Cezanne, “a short stroke representing only the brush exploring the form”.
Tonight there’s a scary-beautiful conflagration of low pressure and high cold air that will bring us 20″ of spring snow and 50 mph winds by early morning. The storm will intensify over the Gulf of Maine and bring even higher winds to the Nova Scotia reaches, scouring the highlands and dumping 2′ of snow along the way.
But isn’t it pretty? That’s us – right between the huge gray high and the Buddhist monk orange low.
Time to go fill the teakettle and grind some coffee before the power goes out. Stay warm, everyone!
Last summer I was able to spend a week painting on Great Spruce Head Island. This is a small piece based on studies and photos of a rock at the end of the Double Beaches: 12″ x 16″, oil on panel.
Now is the rare time when the garden is completely spent and it’s too early to start seedlings under lights down cellar, and I spend almost every night painting.
This is a drawing study of the rock at the end of Double Beaches on Great Spruce Head Island. 12″ x 16″, oil on panel: