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”.
March in Maine: wearing crampons over my boots to hike down to Four Seals Beach and wearing fleece-lined leather gloves to stand on the rocks and draw, white sky with black rocks and seals barking in the distance, the full moon and the sun glowing on different horizons. I’m happy with the work, will continue to use a Cadmium Lemon wash and different hues to make the underlying map on this set of paintings.
Four Seals, Square Rock, 18 x 24 inches, oil on board
This having-a-studio thing is the best idea ever – why did it take us 20 years to get it done? Oh right: money, property, time, planning, coalescence of ideas. . .but now that we’re moved in and working all that effort is really paying off. Just off the easel today is a view of Four Seals in Somesville in the flat white light of early morning, 18 x 24, oil on board.
I’ve begun to think of these drawings as maps, as a linear underlayment that details distance, emphasis, and locates key objects on the plane of what will eventually be a painting.
18 x 24, Four Seals in the Bright White Light of Morning
This was going to be a post about arepas – delicious grilled arepas made with fresh corn and farmer cheese. But this is not that post. Instead, you’re getting an update on the drawing that has me burning midnight oil and still getting up at 5:30 a.m. for the day job. It’s a still life! With a view!
Mallow and the Causeway, 20″ x 16″, oil drawing on panel. I blame the Dutch.
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:
Two weeks ago I posted a new work-in-progress and then the site went down for a few days and I never posted the finished piece. Here it is with additional detail and the final glaze in Ivory Black.
If I’d given more thought to the process of changing from pastels to oils after all this time I would have started with studies – small pieces with discrete subject matter as exercises – rather than full on painting subjects. This is the first drawing, in brush and ivory black, for a series of still life studies featuring grapes and the occasional red plum. I think they will be very educational.
I had a week off in June and decided to make the switch from pastels to oil paints. It has been a steep learning curve, no matter that I painted for a decade before we had a baby and I decided to use a less toxic medium.
I’m working from sketches and photos from last winter of this site in Acadia National Park, 18″ x 24″, oil on board.
Just back from a week painting on an island in Penobscot Bay with new work, a decision to move from pastels to oils and still-life to landscapes, three full camera cards and a pack full of laundry.
Two small studies of Bear Island.
Many thanks to the folks who made this possible and provided exuberant company, serious inspiration and very, very good food. And here’s the link to the eminently practical Macabi skirt I promised!
Now I have to get out into the garden, bu first – a rainbow over Penobscot Bay: