Hours of tedium and help from amazing friends turned this from an oft-heard comment (“Your drawings look like they could be paint-by-numbers!) into an actual book out in the real world.
Thanks to all, with a special shout-out to all the people who saw a woman in the road staring intently at their home over the edge of her sketchbook, and simply shrugged and went about their day without thinking too much about it.
I need to do a follow up post on waffle beds in the garden, possibly another on the new hive of bees, and I still haven’t planted out the spinach. On the other hand, my studio time has been very productive (and the spinach seeds can wait another few days).
I’ve finished the drawing stage of this beach painting from Seawall, in Manset. The beach and campground are part of Acadia National Park and one of the prime sites for the Night Sky Festival in September (which you should plan to be part of if you can – the stars are spectacular here on a clear night!). This is on a 24 x 36 panel and the drawing is done in Rembrandt Ivory Black oil.
Now to let it dry for a week, and spend some quality time on a smaller image of Compass Harbor.
The 2016 Acadia National Park centennial celebration has started with a bang, or well, a bean supper and an art show at the local kid’s summer camp. My work has taken many twists and turns over the past decades; from pastel to oil and still life to cityscape, and now “rocks and water” have come around just in time to celebrate a century of public access to some of the most beautiful scenery in the world. Just off the easel, Bass Harbor Rocks I, oil on panel, 24 x 18 inches.
We finally have coverage at our house that seemed cleverly sited to hide from every cell phone tower in the area and now I have a phone! This is relevant because evidently phones have cameras now – very fine cameras indeed – and I can post documentation of works in progress without dragging the Canon down to the studio. I apologize in advance for the art-spam coming your way, have a spruce tree at the Bass Harbor Light to start:
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
Summer is a busy time. There have been weekends off-island (sometimes on another island), hours spent in the garden, long days spent at work, and lots and lots of holiday traffic. Somehow, I eked out enough studio time to complete the Blackberry Branches painting, and it’s probably my largest and most complex piece to date: 36 x 24 inches, oil on panel.
And some details:
Now, on to a landscape from a sketching trip down to Bernard, on the very tip of MDI. Looking forward to a little more focal length in this one!
Sometimes I just want to paint structure and there’s nothing like a glass jar buttressed stems, leathery leaves and huge, recurved thorns to work out that urge. These blackberry bushes grow uncultivated along the edge of our gravel road but the blossoms are huge, white and surprisingly delicate for living on nothing but dust and neglect.
Blackberries and Cherries, drawing in progress, vine charcoal on gessoed panel, 40 x 32