More wildlife in the garden – and in my paintings for 2020. Spinus tristis makes a tsee-tsi-tsi-tsit call in flight as they bounce around the garden from seed stalk to thistle head. While the female is on the nest she calls to her returning mate with a soft continuous teeteeteeteete sound, which we hear a great deal during early summer. The roses in this painting are from an unidentified plant that was a gift from a friend in southern Maine. It blooms once, gloriously, in early summer and has proved hardy in its little untended corner of the lower garden for twenty years.
The working title for my series of paintings in 2020 is “In the Garden” and will highlight the many and varied creatures that live and visit the space outside my studio.
I’ve been working to improve habitats for creatures in and around the garden beds. Amphibians, reptiles, and songbirds are all at risk worldwide and I have the advantage of excellent raw material in two acres of freshwater marsh and a harsh climate that resists invasives and favors native species. I have compositions planned to include our three local frog species: grey, tree, and spring peeper, multiple woodpeckers, the ducks and geese that stop here on their way through the spring and fall migrations, and the domestics that wander through on a lovely summer morning, like my neighbor’s Black Leghorn rooster, below.
This piece started with an underpainting of large tonal areas – a new technique for me this year. The underlying structure allows more freedom in the top layer to depict the complicated surfaces and textures of the creatures that will join the flowers in future paintings. Onward to “Roses with Goldfinch” in the studio!
Still life painting of bouquet with botanical print by Dutch artist Gerald van Spaendonck as background, 24 x 36 inches, oil on panel.
Spaendonck was a Flemish painter and engraver who brought the traditions of Flemish flower painting to Paris. Prior to this he had studied with studied under the decorative painter Guillaume-Jacques Herreyns in Antwerp in the 1760s. Studying his work has been very instructive in adding to my palette.
I’m involved in a series of diptychs; an exploration of overlapping images with a contiguous background and subject matter. What that means in practice is that, while I draw up both panels together, one half is actually painted before the other is started. It’s great for my color discipline as the lighting and hue of both panels was originally the same but it might be a month before I start on the second image. Here’s the left side of the current set – the right panel is still in progress.
Teapot marked MIJ c 1928 with 4th Century Moorish textile, Museum no. IS. 96-1993, © Victoria and Albert Museum, detail
I had to do errands Downeast this fall and made time to stake out a painting spot on the wharf in Corea. The tide here runs 10′ or more, so timing my visits for the same time of day (for the light) and tide was complicated but worth every minute staring at the fine print in the almanac. I hope to get here when there’s snow on the ground some day.
Corea Wharf, Low Tide, 24 x 36, oil on panel
Snowberry Branches in a Tan Vase, 36 x 24, oil on panel
The native Symphoricarpos, commonly known as the snowberry, waxberry, or ghostberry, is a small genus of about 15 species of deciduousshrubs in the honeysuckle family, Caprifoliaceae. Most of the species are native to the eastern and midcoast of the US. In our yard the birds descend on the berries when they’ve turned soft and brown after a hard frost.
Snowberry Branches, detail
In October we had the invasion of crab apples (and fruit flies) in the studio, wind storms with power outages, and revelations about drapery and the role of drawing in painting thanks to a dear friend lending me her copy of Modern Prints and Drawings by Paul Sachs.
Now it has turned November and we have quince in progress, 24 x 18, oil on panel.
I very much wanted to title this piece “Mrs. M. and the Cherry Tree That Desperately Needs Pruning” but that sounded too much like the next Harry Potter novel.
This is a study for a larger painting, but we have to get our model time in when we can (especially during blackfly season).
Ivory Black on panel, 24 x 24