New Hampshire’s Fall Foliage

Last weekend was the annual Fall Artists’ Getaway Weekend to the White Mountains, based at the Bartlett Inn in Bartlett, New Hampshire.  We had some rain, but we also had some glorious, warm sunshine.  If only the wind hadn’t accompanied the sun, we would have had little to complain about.  As it was, Byron Carr flourished, creating one of his most spectacular paintings (and that’s saying a lot) under threat of rain.   Unfortunately, and as usual, taking a photo of it never occurred to me when it counted.  So you’ll just have to take my word for it.

I have my own version of a cloud painting.  This was my first painting of the weekend, Friday morning’s painting.

Pumpkin Patch under Cathedral Ledge

Pumpkin Patch under Cathedral Ledge

It was actually raining when we set up.  Umbrellas intended for use against the sun turn out to serve also against the rain.  Who knew?  Gradually the clouds rolled away leaving the Ledge exposed, but I stayed with my initial impression, with the Ledge almost totally obscured.  The green patch is surrounded by pumpkins but appears itself to have been freshly sowed in something growing bright green–a cover crop perhaps.  The intense green is unusual at this time of year, but trust me, I even downplayed it a little.

Although I had driven up to Bartlett the day before, Thursday had been a solid, hard rain day.  I left Manchester kind of late (around two o’clock) and arrived at Bear Notch Road about four o’clock, in no hurry, enjoying the views without any urgency to paint them.  Bear Notch Road connects the Kancamangus Highway (a famed scenic highway) to Route 302 at the center of Bartlett–a great shortcut through the hills and woods.  Bear Notch is a two-lane road with overhanging trees.  The trees were still in full leaf, orange, red, and yellow.  The rain was unrelenting.  I felt as if I were floating through an orange cocoon, what with the rain slick on the road reflecting back at me all the oranges, red, and yellows of the trees.  I studied the effect as best I could, trying to memorize the elements.  But I didn’t stop to photograph it.  Story of my life, right?  (Well, it was raining pretty hard.)  So, to get to the point of Bear Notch Road description, when I finished the Pumpkin Patch before my companions were ready to move on, I started a painting of my memory of the orange cocoon.  I continued to refine and improve on it over the weekend, and again today.  I added the white line, although Bear Notch has none, in order to facilitate identification of the ribbon as a road, not a river.  My problem then was getting across the idea that what you are seeing on the road is water reflecting trees, not just fallen leaves.  Only you can tell me if I succeeded.

The Orange Cocoon

The Orange Cocoon

Friday afternoon we relocated to Jackson, all the way around to the other side of what I think of as the Mount Washington wilderness.  There are the two routes leading northward out of North Conway:  302 runs to the west of Mt. Washington, and 16 to the right.  Eventually, each route gives access to Mt. Washington.  The western route offers the Cog Railway.  The eastern route has the Auto Road.  All weekend we got no farther North than Bartlett on the West and Jackson on the East.  This was kind of strange, but the weather did limit our painting time somewhat, so we tended to stick closer to home base.

In Jackson, the Jackson Falls are always a big draw for artists.  But we had another motive:  reception at five in the Jackson Historical Museum, for exhibit opening and sale of White Mountain paintings, both old and contemporary.  Yes, there were many Champneys for sale.  Here is proof.  Upstairs in the Museum are paintings from its permanent collection, grouped by the area of the Whites being depicted.  In the center of this room is a topographical map with the locations identified.  A treasure.  Downstairs I discovered that I really like the works of Edward Hill, but could not afford to buy any.  Upstairs, I discovered I really like William Henry Hilliard, especially this work of his called Eagle Cliff.

Eagle Cliff, by W.H. Hilliard

Eagle Cliff, by W.H. Hilliard

I have my own version of Eagle Cliff from Profile Lake, which I call “Profile Lake”, the cliff being not a prominent feature in my painting.  See it here.

The food at the reception was outstanding, by the way.

Ah yes, my Jackson painting.  Sharon and I set up in the parking lot of the Museum, in part because there were good views of the town center and of the river that flows down from the Falls, and in part because we’d be on the spot, parked and ready for the reception at five o’clock.  I chose to paint a small section of the river where artfully arranged boulders create happy little rapids.

DSC_0006

This is actually a cropped photo.  I will be cutting the painting down as cropped, which I can do because it was painted on paper.  Guerrilla Painter “carton” paper.  The top part of the painting is distracting and irrelevant, and I shouldn’t have wasted my time or paint on it.

Saturday we revisited May Kelly’s.  My idea.  Last Spring we painted in the back of May Kelly’s, an Irish pub-type restaurant.  My painting was of the back of May Kelly’s.   See it here.  Around me, other artists had been painting a terrific view of the valley with the Saco River with White Horse Ledge looming over all.  Shortly after I got home in May and photographed my painting, the May Kelly painting went missing, never to turn up again.  Perhaps one disadvantage to painting on paper.  Anyway, having lost the earlier version, I was eager to paint another version of the back of May Kelly’s.  As before, other artists’ attention was focused on the valley view.  We got rained out, and headed indoors for lunch and reconnoitering.  Terrific lunch!  By the time we finished eating, the rain had let up a little, but instead of finding a new location, we went back to the Inn and worked on our unfinished paintings.  I had taken a reference photo of the back of May Kelly’s just before the rain hit (finally, I remembered to take a picture), so I was able to finish that painting  using the photo.  In fact, the photo was enormously helpful because it revealed to me how wrong one of my angles was.

May Kelly's, v. 2

May Kelly’s, v. 2

After finishing May Kelly, I worked on Orange Cocoon some more, getting advice from anybody who was willing to give it, about how best to convey the rain reflections.  Saturday night, per our tradition, we got pizza in for supper and reviewed all the paintings that we had created over the weekend.  Byron as usual and as appropriate (he organizes the weekend) had the most, and one of the best.  Byron Carr.  Link here to his website.   Other great artists participating:  Elaine Farmer from Amherst, Sharon Allen from Derry, Bruce Jones from Exeter, Diane Dubreuil from Connecticut, Penny (sorry, can’t remember her last name) from Maine, and Phil Bean from Milford.

Sunday I meandered my way home, looking for a spot that needed painting.  I didn’t find it where I expected to, along Route 153 through Eaton and Purity Springs.  But on a whim I left the main road (I think I was on Route 28 at this point) to explore up a hill to a place called Moultonville, and happened on just the right spot:  an eye-catching scene accompanied by place to park and another place to paint, all without risk to life, limb or property.  According to one of the interested residents who stopped to engage me in conversation, the subject of my painting is owned by an artist, last name unknown.

Moultonville Home

Moultonville Home

So another productive weekend in the company of some of my favorite people comes to a close.  You can’t ask for better.

Aline Lotter is currently exhibiting:

at the Hatfield Gallery and the East Colony Fine Art Gallery in Manchester (both are in Langer Place, 55 S. Commercial St., Manchester, NH); at the Bartlett Inn in Bartlett and the Bernerhof Inn in Glen; at the Red Jacket Inn in North Conway; at the law offices of Mesmer and Deleault at 41 Brook St in Manchester; at the Manchester office of Congresswoman Carol Shea Porter;   at the Norris Cotton Cancer Center in Manchester (but access is limited to patients and health care workers).  One painting is hanging this last week in the Boston Arboretum visitor center.  My two cemetery paintings (seen here) are on view at the Arts League of Lowell, 307 Market Street, Lowell, Massachusetts.  And in Portsmouth’s Levy Gallery, you can find 8 of my newest 6×6’s as part of the annual Women’s Caucus for Art 6×6 show.

You may also view paintings with prices and order prints at my Fine Art America page. If the painting you are interested in is not there, or if you prefer to bypass that experience, you may contact me by email to alotter@mac.com.

If you want to add a public comment to this blog, go to the bottom of this page where it says “Leave a Reply“, and enter your comment in that box. I love to get public comments, so don’t be shy!

Not quite through with Vermont

Last week’s blog describes my painting weekend in Vermont, and refers to the then upcoming Demo Day at East Colony Fine Art Gallery.  My demo time slot was 1 to 3.  (The gallery closes at three p.m. on Saturdays.)  Perfect timing, because it meant I was able to attend the Saturday Life Group as usual, which ends at 12:30.  Fifteen minutes to pack up and get from the Institute, across some major intersections, to the Gallery, another fifteen minutes to get set up at the Gallery.  One tiny glitch.  I had dropped my smart phone in the toilet the day before, and I had to order a new phone ASAP, but I had no phone from which to make any calls to my provider (Credo).  I had to use the Gallery phone and my setup time to do that.  Since everything I do anymore seems to take me twice as long to accomplish, compared to when I was younger, I estimate that I didn’t get going on my demo until 1:15, at the earliest.  I didn’t have any way to check the time, since I have become habituated to relying on my phone for that too.  Whatever, whatever. . . . Sigh.

I did get organized beforehand for the demo.  Which only means I printed out a photo of the subject I intended to paint (unless something more inspiring came up at SLG–it didn’t), and taped a piece of oil-primed linen to a board, a la Richard Schmid.  For my subject, I decided to paint a view of Waits River, Vermont.  Apparently it is oft painted.  It is perhaps as well known in Vermont as Motif No. 1 is in the Northeast.  I wasn’t aware of that fact until several of the visitors to the Gallery on Saturday were able immediately to identify my painting as Waits River.   One commented that “It’s on every calendar”.  Okay.  Well, I did two versions of Motif No. 1, so I’m  not opposed to painting icons.

Even though I had less than two hours to work on WR, in public, with conversations, I finished it before three o’clock.

Here is the photo I worked from, and the painting that resulted:

Waits River, the place

Waits River, the place

Waits River, the painting

Waits River, the painting

Note that I changed very slightly the location of some elements.   I believe that was my compositional instinct working.  If I had had more time to work on the painting, with the knowledge that the scene is something of an icon, I might have tried to be more accurate, and the painting would probably have suffered.

Aline Lotter is currently exhibiting:

at the Hatfield Gallery and the East Colony Fine Art Gallery in Manchester (both are in Langer Place, 55 S. Commercial St., Manchester, NH); at the Bartlett Inn in Bartlett and the Bernerhof Inn in Glen; at the Red Jacket Inn in North Conway; at the law offices of Mesmer and Deleault at 41 Brook St in Manchester; at the Manchester office of Congresswoman Carol Shea Porter;   at the Norris Cotton Cancer Center in Manchester (but access is limited to patients and health care workers).  One painting is still hanging in the Boston Arboretum visitor center, another is on display for the month of October at Manchester’s Radisson Hotel–selected as Manchester Artist Association Artist of the Month.  My two cemetery paintings (seen here) are on view at the Arts League of Lowell, 307 Market Street, Lowell, Massachusetts.  And in Portsmouth’s Levy Gallery, you can find 8 of my newest 6×6’s as part of the annual Women’s Caucus for Art 6×6 show.

You may also view paintings with prices and order prints at my Fine Art America page. If the painting you are interested in is not there, or if you prefer to bypass that experience, you may contact me using the private feedback form below.

If you want to add a public comment to this blog, go to the bottom of this page where it says “Leave a Reply“, and enter your comment in that box. I love to get public comments, so don’t be shy!

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Plein air painting in Vermont

What a glorious weekend it was!   We (Sharon Allen and I) took the scenic route to Bradford, Vermont,  to stay with Nancy Griswold, an artist who recently relocated to Vermont after living in New Hampshire and Connecticut.  She didn’t know me at all, and had met Sharon only once before, yet opened up her newly restored farmhouse to us as an “artist retreat.”  Women artists’ retreat.  I can’t say enough about the classy accommodations and the welcome she gave us.

I hadn’t painted in Vermont since July 2008, when I took a workshop with Albert Handell in Putney.   I was so new to painting then, so green.  It has been a long journey in only six years.  Nancy has had a longer (lifetime?) career as an artist, but hadn’t been out painting en plein air, or even in her studio, for many months due to the press of other urgencies.  Sharon, of course, is also known as Plein Air Gal, and runs our NH Plein air group, and shows up at practically every outdoor event on our calendar.

Fall foliage had arrived in Vermont seemingly just in time to meet us there.  Color blazed up in vivid patches against backdrops of shifting shades of green:  a crazy quilt of purples, roses, vermillions, reds, oranges, ochres, lemon yellow, yellow green, emerald green, sap green, with stitches provided by white birches–not better than New Hampshire’s foliage feast, but earlier. Whereas New Hampshire scenic views tend to be mountain- and waterfall- focussed,  the Vermont locations relate to farms.

Though separated only by the Connecticut River, the two states are surprisingly unlike each other.  And not even that separated either.  Bridges between the two were plentiful–seemingly more plentiful than the bridges New Hampshire erects over, say, the Merrimack River.  (Manchester is divided between the East side of the Merrimack and the West side, with only three bridges to connect the two.)  Vermont has no city of comparable size on the Connecticut River, but it seems as if every little Vermont town has a road to New Hampshire.

Nancy had arranged for the three of us to spend a day with Robert Chapla, an artist now of Newbury–a few miles north of Bradford–but formerly of San Francisco.  Robert is a magnificent colorist–for example:

Directed Crossings, by Robert Chapla (his San Francisco collection)

Directed Crossings, by Robert Chapla (his San Francisco collection)

Robert is restoring the farmhouse and barn and outbuildings on a large, hilly stretch of land overlooking his neighbor’s pond and green grass.  I chose for my first painting that pond, viewed from the road.  For my second painting, I went back up the hill to capture one of the outbuildings and the “driveway”.  A truly bucolic version of a driveway.  Sharon chose it for her second painting too.

Sharon and Aline, painting the driveway

Sharon and Aline, painting the driveway

Me and my two Chapla paintings

Me and my two Chapla paintings

For better views of the paintings, look for them on my “New England Landscapes en Plein Air”.

On our way home Sunday, we stopped by a store in Quechee, Vermont, called “Scotland by the Yard”.  By way of illustration, I guess, they keep a flock of sheep in the front, between the highway and the store.  After stocking up on Christmas presents for our Scottish family members, Sharon and I set up our easels and painted a landscape with sheep.  Here is my version:

Sheep

Sheep

This Saturday I will be demonstrating how I paint as part of the East Colony Fine Art “Demo Day”.  Eleven of our artists have agreed to show how they do what they do.  Here is a copy of the postcard we are sending out to advertise the event.  Image 6

Aline Lotter is currently exhibiting:

at the Hatfield Gallery and the East Colony Fine Art Gallery in Manchester (both are in Langer Place, 55 S. Commercial St., Manchester, NH); at the Bartlett Inn in Bartlett and the Bernerhof Inn in Glen; at the Red Jacket Inn in North Conway; at the law offices of Mesmer and Deleault at 41 Brook St in Manchester; at the Manchester office of Congresswoman Carol Shea Porter;   at the Norris Cotton Cancer Center in Manchester (but access is limited to patients and health care workers); and at her studio by appointment (email: alotter@mac.com).  One painting is still hanging in the Boston Arboretum visitor center.  And in Portsmouth’s Levy Gallery, you can find 8 of my newest 6×6’s as part of the annual Women’s Caucus for Art 6×6 show.

You may also view paintings with prices and order prints at my Fine Art America page. If the painting you are interested in is not there, or if you prefer to bypass that experience, you may contact me using the private feedback form below.

If you want to add a public comment to this blog, go to the bottom of this page where it says “Leave a Reply“, and enter your comment in that box. I love to get public comments, so don’t be shy!

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Aftermath. What is the value of a painting that you love?

So, last Saturday was Art in the Park, which I was anticipating in my previous post.  The weather “cooperated” beautifully.  I chose this unfinished oil painting on paper (9×12) to offer for my (free) raffle.

Grey-eyed cat (wip)

Grey-eyed cat (wip)

You might remember Grey-eyed cat as one I painted during the Art in Action event last April.  The raffle rules were, to be eligible to enter, you had to answer this question, “What medium did I say in my blog I tried last week for the first time?”  The answer was on my website,  so anybody could look it up on their smart phone.  A few did.  A few guessed (wrong).  A few didn’t bother with that detail.  One little girl was so determined to win the painting that she got her mom to take her home to look it up on their computer.  I’m happy to report that her extra effort was rewarded!  Congrats to Rebecca; I know my Grey-eyed Cat will have a loving forever home.

My tent was situated across the path from the Entertainment:  three musicians playing folk songs together and performing solo.  I had brought my plein air painting gear, so I set up and painted a scene of the musicians.  Mind you, the only one who stayed in one position for any length of time was the middle one, Michelle.  It was a test of my memory and experience.

The AITP Musicians

The AITP Musicians

The aftermath of this painting was a little weird.  The next day, or maybe it was later Saturday night, Michelle posted on Facebook that she wanted to buy the painting and asked the price.  I replied, on Facebook, that I wanted her to have it, but we should discuss it privately, via email.  Unbeknownst to me, she jumped to the conclusion that I was going to give her the painting and spread that all over Facebook.  Meanwhile I tried to find out what she would be comfortable paying, and I thought we had reached a resolution (half the usual price, payable over five months), but she later backed out, saying she couldn’t afford it.  No counter, no hint as to what she could afford, so I guess her original offer to buy was impulsive.  It just makes me sad –after being so happy.  I don’t mind giving a painting away to a friend who appreciates it, but I feel that a stranger who is not  willing to put up some bucks does not really value it.

What is the value of a painting anyway?   To the artist, a painting’s value has little to do with “market” value.   [I'm not talking about "investment" grade paintings here--a subject absurdly foreign to the experience of most living artists.]  The paltry few hundreds of dollars on a painting’s price tag doesn’t go far toward covering an artist’s costs when you take into account the years of learning and practicing.  A painting is created with joy, and you could say once created, it has no further value to the artist.  It becomes the remembrance of joy.  Sure, it could be exhibited, perhaps win an award, enhancing the artist’s reputation, etc.  None of this has anything to do with a “market” value for a painting.

I had a similar inquiry recently from the exhibit of my paintings at the Cancer Center–a patient would have bought a particular painting if the price I quoted was within his/her expectations.  I guess it wasn’t, even though I knocked a hundred off the usual price.  I can imagine the patient’s disappointment to learn that the painting was not “affordable”.  But why not?  Why not negotiate with the artist, try an installment plan?  What is it about paintings that they are so little valued, even when loved passionately?

Before I started making my own paintings, I bought other people’s paintings.  I remember how hard it was, especially in the beginning, to screw up the courage to spend hundreds of dollars on a painting that I fell in love with.  When you consider how much can be spent on a restaurant dinner these days, isn’t it ridiculous to expect a painting, which lasts forever, to be cheaper than a gourmet meal for two couples?  I never regretted what I paid for paintings, or for the cost of framing them (usually more than the painting!).  But that is hindsight.  How to convey this perspective of value to someone who has never before thought about paying for a painting?  I have no clue.

To offset that glum discussion, I want you to see two paintings from the Monday group, last week and this week.  Last week, we asked my daughter to pose clothed in Dee’s garden, and we enjoyed the experience of working from the clothed model so much that we had Robbie keep his clothes on yesterday:

Poolside

Poolside

 

Sneaker

Sneaker

This weekend I am off to Vermont for a weekend of plein air painting in the Upper Valley, with Sharon Allen and others.  The result should be a bunch of new paintings to love.  And value, perhaps.

Aline Lotter is currently exhibiting:

at the Hatfield Gallery and the East Colony Fine Art Gallery in Manchester (both are in Langer Place, 55 S. Commercial St., Manchester, NH); at the Bartlett Inn in Bartlett and the Bernerhof Inn in Glen; at the Red Jacket Inn in North Conway; at the law offices of Mesmer and Deleault at 41 Brook St in Manchester; at the Manchester office of Congresswoman Carol Shea Porter;   at the Norris Cotton Cancer Center in Manchester (but access is limited to patients and health care workers); and at her studio by appointment (email: alotter@mac.com).  One painting still at the Boston Arboretum.

You may also view paintings with prices and order prints at my Fine Art America page. If the painting you are interested in is not there, or if you prefer to bypass that experience, you may contact me using the private feedback form below. If you want to add a public comment to this blog, go to the bottom of this page where it says “Leave a Reply”, and enter your comment in that box. I love to get public comments, so don’t be shy!

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Art in the Park

Before I get caught up in narratives of what I’ve been doing in the recent past, allow me to tout the upcoming event, “Art in the Park”, this Saturday, September 20, at Veterans Park in Manchester NH (rain date is the next day, Sunday, September 21).  This is an annual art show from the artists of the Manchester Artists Association.  We put up tents;  we put up racks; we cover said racks with artworks.  We wait. . . for people to come by and ooh and aah and maybe buy a piece or two.  Many cards and prints will also be on sale.  I am sharing my tent and racks this event with Linda Feinberg, who writes poetry to go along with her cards and other artworks.   This year The MAA is also sponsoring a children’s art show in conjunction with our own, in order to support the value of art making in the schools and to encourage potential artists to carry on.   If at all possible for you to visit us at this event, I beg you to do so.  It’s important for not just me, but for all the constituencies involved–artists in Manchester, artists in New Hampshire, school children, and the general public– who need more art in their lives!  To encourage high attendance, I am going to give away a piece of art–probably a drawing–via something like a raffle (not really a raffle because no payment will be required).  To qualify for the gift, you might have to answer a question about the artwork I am about to post in this blog.  So pay attention now!

Mostly what I have been doing this past week is tweaking the paintings of the past month, hopefully for the good, but I have also been drawing at my life groups.  The Monday life group has a new model, Robbie, whose face I found to be more interesting than his body, and I tried out a new medium:  pastel pencils.

New model, Robbie

New model, Robbie

Robbie, 2

Robbie, 2

Our Saturday group got together for our first meeting of the Fall, for our standard short poses followed by a few longer poses (but not long poses by the standards of Monday’s group).   I used charcoal.

5-minute pose

5-minute pose

10-minute pose

10-minute pose

20-minute pose

20-minute pose

40-minute pose

40-minute pose  (my favorite)

40-minute pose

40-minute pose (wish the edges were more interesting)

Finally, here is your first view of “Nap, Interrupted”.  I started it a month ago, then had to leave it alone while I pursued my landscape paintings.  Yesterday I tweaked it a little, but not so much as to make it worth another round of photos.

Gracie Portrait, WIP

Nap, Interrupted  (WIP)

This painting of my smallest cat, Grace, who, by the way, has an earlier post entirely devoted to her (see it here), was prompted by (1) the sale of my other gigantic cat painting called “Fur” (hmmm, I thought, cats sell!), (2) a great photo of Grace I had been saving to paint, and (3) a 2 by 4 foot canvas (dimensions that match the photo) just lying around.  Also in my mind was something Paul Ingbretson said, to the effect that you should paint every painting with the hope that  your painting will be the one to first draw the eye of anyone who enters in an exhibit space.  I am certainly doing the hoping here.  Whether the hope is ever realized . . . , well we can only hope.

Aline Lotter is currently exhibiting:

at the Hatfield Gallery and the East Colony Fine Art Gallery in Manchester (both are in Langer Place, 55 S. Commercial St., Manchester, NH); at the Bartlett Inn in Bartlett and the Bernerhof Inn in Glen; at the Red Jacket Inn in North Conway; at the law offices of Mesmer and Deleault at 41 Brook St in Manchester; at the Manchester office of Congresswoman Carol Shea Porter;   at the Norris Cotton Cancer Center in Manchester (but access is limited to patients and health care workers); and at her studio by appointment (email: alotter@mac.com).

You may also view paintings with prices and order prints at my Fine Art America page. If the painting you are interested in is not there, or if you prefer to bypass that experience, you may contact me using the private feedback form below. If you want to add a public comment to this blog, go to the bottom of this page where it says “Leave a Reply”, and enter your comment in that box. I love to get public comments, so don’t be shy!

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Double courses, Double helpings

I’ve been painting so much lately that I have not had time to blog.  Today’s blog, therefore, will cover a lot of activity.  On the menu are three pure landscapes and three figures in the landscape.  You have seen earlier versions of two of the latter, so we’ll start with those even though my changes to the originals represent my most recent activities.

The Black Kimono, Take 2

The Black Kimono, Take 2

I felt I had to fix the arm in Black Kimono.  That is kind of a dangerous thing to do, especially since I had no photo reference, or if maybe I did take one, I forgot to look for it.  I just plunged ahead, building a right arm where I felt it should be, given where the left arm was.  The right arm still disappears behind her thigh, but the angle is more natural, and the plumpness of the forearm conveys the message better.  I am not declaring Black Kimono “done” yet because I am considering whether to add some pale streaks of lights reflecting off the kimono, so as to better delineate the leg underneath.  I hesitate because the result will be gray, and that can just look messy.

I have not had much experience with black.  In fact, I used to not carry a tube of black with me at all.  If I needed black, I would just mix the darkest available colors, usually ultramarine blue and burnt umber.  I learned that in one of the first courses I took at the Institute.  Peter Dixon was teaching color theory and Renaissance painting, and combined both of them in the same room at the same time.  So I picked up basic color theory along with grisaille and glazing.  Black was not used for either course.  Since then, I have encountered many other teachers who make “black” with their own combination of darks.

Yesterday morning we met again in the Lessard garden with our nude model.  You’d think with another three hours to work on something that seemed really close to finished after the first three hours, that it would be perfect now, and I even could have started a second painting.  Alas, not so.  I’m less happy with it now than I was last week.  Maybe happiness is a function of the number of hours expended on something.  Longer generates higher expectations, perhaps higher than achievable.

White Floppy, Take 2

White Floppy, Take 2

Her new face is what bothers me the most, but I also see background “errors”.  And one of the reasons for spending the extra time–improving the patterns of light and shadow on the figure–just don’t dazzle like I hoped.  It seems that just when I feel I am making significant progress of that ladder of artistic proficiency, I come up short and get knocked back a peg or two.  Did I just mix a metaphor?  How embarrassing!  I used to be so good with the English grammar stuff.

While we are looking at figures in the landscape, let’s check out the Last Pose of Summer–the last one in David Curtis’ garden.  Our model Mary Ann brought a costume reminiscent of Gibson Girls–between Victorian and the Roaring Twenties.  On top of her filmy white gown, she wore a dusty pink lace coat.  Dusty pink is close to the color of skin in shade.  How hard will that be to depict!

The Last Pose of Summer

The Last Pose of Summer

I kind of think I nailed it.  I would have liked to capture more definite leg shapes, but it was windy and the fabric kept swirling around her so as to prevent any sort of definitive anything.  Go with the flow, I say.  So I did.

For the pure landscape selections, we have another local back yard, one to dream of, a trip southward to a vista of brackish marshes, and tree portrait from the Boston Arboretum.  However interesting these scenes might be to a viewer, to this artist they felt dreary for the lack of a human presence.  Or even a dog presence.  I have become quickly spoiled by my good fortune in David Curtis’ garden.  Still it is good to be outside painting:

Elaine's Back Yard

Elaine’s Back Yard

This really is in the back yard of a fellow artist, Elaine Farmer, who just moved to Amherst and invited us over to paint on her fabulous garden.  But we can’t resist water.  And there was a little foot bridge over the stream, whence I painted.

Cox Reservation

Cox Reservation

The Cox Reservation is located in Essex, Massachusetts.  David Curtis and a group of his followers meet up there regularly to paint.  I have actually painted this scene before, when Sharon Allen and I were exploring the Essex National Heritage Area.  As I was driving down, I resolved not to get sucked back in with this vista, but rather to find something interesting, preferably with flowers, to paint close up.  So much for resolutions.  I hate vistas.  They are so hard!   When I started on this one, there wasn’t even any water to paint, but as the tide rose, it got better.  But why was I even there?  I don’t know.  Something in my afterlife must have required it.  No, I have it!  I just compared it to the earlier one (linked above), and it seems my vistas have improved somewhat since 2012.  Yea!

Smoke Bush at Arboretum

Smoke Bush at Arboretum

Finally, the Smoke Tree.  I had to deliver a painting to the Arboretum anyway, so I decided to make a day of it and paint something.  No vistas this time.  I went looking for flowers, and found mostly flowering trees, which is not something very common at the end of summer.  This bush (“tree” is reserved for bushes that grow a lot higher) was located at the top of Bussey Hill.  Luckily, there was a road to get me there.  (They let me have a driving permit because I couldn’t carry my gear all that way, and I do have handicapped privileges due to the arthritis in my back.)  I labored over the Smoke Bush so much harder than I should have had to, and I suspect that is because I had the time to do so.  Had a model been present to paint, the tree gets abstracted in the background.

Aline Lotter is currently exhibiting:

at the Hatfield Gallery and the East Colony Fine Art Gallery in Manchester (both are in Langer Place, 55 S. Commercial St., Manchester, NH); at the Bartlett Inn in Bartlett and the Bernerhof Inn in Glen; at the Red Jacket Inn in North Conway; at the law offices of Mesmer and Deleault at 41 Brook St in Manchester; at the Manchester office of Congresswoman Carol Shea Porter;   a single painting is on view for one more week at the Radisson Hotel in Manchester; at the Norris Cotton Cancer Center in Manchester; and at her studio by appointment (email: alotter@mac.com). You may also view paintings with prices and order prints at my Fine Art America page. If the painting you are interested in is not there, or if you prefer to bypass that experience, you may contact me using the private feedback form below. If you want to add a public comment to this blog, go to the bottom of this page where it says “Leave a Reply”, and enter your comment in that box. I love to get public comments, so don’t be shy!

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Continuing the Garden Binge

Encouraged by the success of the red parasol painting, I returned to the David Curtis garden in Gloucester two more times.  I have provisionally titled these two by the most prominent prop–a reflecting ball and a black kimono, respectively.

The reflecting ball was, to me, an annoyance, but I had to deal with it.

The Reflecting Ball

The Reflecting Ball

David advised us to paint portraits rather than a figure in the landscape, but as you can see, I ignored his advice.  Two weeks prior, I had already committed to painting that tree in the background.  Plus, the less real estate I needed for the reflecting ball, the better.  David praised (I think it was intended as praise) it as telling a story.   Why does mine tells a story and the others not?   A women in gypsy outfit gazing at a reflecting ball?  Must be a story in that, right?  The answer lies in the fact that I painted a figure in the landscape, not a portrait.  To tell a story, you have to back off a bit, gain some perspective.

Last Sunday we gathered around our model decked out in a black kimono and holding a fan.

The Black Kimono

The Black Kimono

This one I enjoyed a lot, almost as much as the red parasol.  It was allegedly the easiest of the Curtis Garden Series.  Certainly it presented nothing as complicated as that red parasol and cupid statuette;  the fan? –not even close.  Then why, when I could complete the Red Parasol with 15 minutes to spare, am I dissatisfied with Black Kimono?  Something about her right arm doesn’t look correct.

Yes, our model actually held that fan up for twenty minutes at a time (she braced the elbow against her side), but her feet would fall asleep.  Whenever the timer signaled her break, she would forget that fact about the feet, try to take a step, and collapse in the grass.  Gracefully.

We all enjoyed ourselves very, very much–including David, I guess — he invited us back next Sunday.  Since Bea is going out of town for Labor Day weekend, I shall have to drive down alone.

The Ultimate Opportunity in figure painting  occurred on Monday, when our life group left the studio to meet with our model in the Lessard garden.

The White Floppy Hat

The White Floppy Hat

We will meet again next week to work on the same pose.  I could almost call the painting finished, but it would be a pretty rough finish.  I think I can do better:  The head is slightly too large.  Some of the spots of light on her could be more delicious–meaning more contrast between light and shadow on her.

All three of these garden paintings demonstrate the benefit of using a dark (mostly burnt umber) ground.  I’ve been using previously painted-on panels, having sanded them down first.  The ground helps to hide the remnants of the original painting, which might otherwise be distracting.  The darkest ground provides the best cover, but my real reason for choosing a dark ground is the lovely foliage depth that occurs so effortlessly.  I can leave the ground showing behind her in the whole upper right section.

All that help, still not “finished”.  What magic took over when I painted Red Parasol?  And how do I get that magic back???

Aline Lotter is currently exhibiting:

at the Hatfield Gallery and the East Colony Fine Art Gallery in Manchester (both are in Langer Place, 55 S. Commercial St., Manchester, NH); at the Bartlett Inn in Bartlett and the Bernerhof Inn in Glen; at the Red Jacket Inn in North Conway; at the law offices of Mesmer and Deleault at 41 Brook St in Manchester; at the Manchester office of Congresswoman Carol Shea Porter;   a single painting is on view for one more week at the Radisson Hotel in Manchester; at the Norris Cotton Cancer Center in Manchester; and at her studio by appointment (email: alotter@mac.com). You may also view paintings with prices and order prints at my Fine Art America page. If the painting you are interested in is not there, or if you prefer to bypass that experience, you may contact me using the private feedback form below. If you want to add a public comment to this blog, go to the bottom of this page where it says “Leave a Reply”, and enter your comment in that box. I love to get public comments, so don’t be shy!

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