My Life as a Model

I was forced (gently) to pose for my Monday life group because our scheduled model just did not show up.  That happens rarely, but often enough so that we know how to cope.  The organizer, unless someone else volunteers, has to step up and be the model.  Not necessarily nude.   It was too cold Monday in the studio for a nude model anyway.  Having nothing much else to think about while I was posing, I  plotted to snap photos of everyone’s interpretation of me and use them for my blog post.  And Monday was not my first rodeo, so I decided to incorporate all of my experiences as a model.  It’s a theme.

Back in 2011 when the model was late to Peter Clive’s class on drawing with color, I sat for maybe 20 minutes while Peter did a demo.  Peter gave me the sketch:

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Peter has a new website here.

Then a few years later, Cameron Bennett asked me to pose for a project that constituted his Master’s thesis in the MFA program at Lesley University.  (He got his BFA from Massachusetts College of Art.  The many art colleges in Boston confuse me–are there some with alternate identities?)  I knew I could do it since (they said) I had sat so very still for Peter.  The duration of Cameron’s pose might have been as much as two hours.  After many months –while Cameron worked on the very large painting that utilized, as one smallish element, his charcoal drawing of me–I received my “payment”–the charcoal sketch itself.  Alas, his large painting  cannot be found on his website here.  I think he liked the charcoal study  better than the finished product; he seemed reluctant to hand it over to me.  It is pretty awesome.  Note the length of the nose–it’s right on!  (This becomes relevant later on.)

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Finally, what you have been waiting for:  the six pieces created/inspired by my recent gig–a full three hours.  Well, actually 2 and 3/4 hours since we spent 15 minutes waiting for the scheduled model.

Those who voiced any opinion at all thought I did good, especially praising my choice of colors when I got dressed that morning (lime green and cobalt blue).  Even one who does not draw or paint in color appreciated the color scheme.

IMG_0167Pencil

 

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Watercolor

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Charcoal

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Oil

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Pastel

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Charcoal

I didn’t attach names, only media, because at least one did not want to be identified with her product.  Contributors are:  Barbara, Nancy C, Jan, Cavaleen, Laura, Nancy H.  Somehow Louise got away before I could get a photo of her piece.

And just for good measure, here is my most recent self-portrait:

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Not very recent though–2011 is the date on the photo.  I was still doing long noses then.  Otherwise, I daresay it looks mostly like me, staring in a mirror with unprecedented concentration.  Note the same earring shows up in Peter’s sketch.  Those were my 2011 earrings.  I have moved on, albeit reluctantly.

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; at the Red Jacket Inn in North Conway; at the Bernerhof Inn in Glen; at the New London Inn in New London; at the law offices of Mesmer and Deleault at 41 Brook St in Manchester; at the Norris Cotton Cancer Center in Manchester (but access is limited to patients and health care workers). And for the month of December, at the Currier Museum of Art, Manchester NH.

You may also view paintings with prices and order prints, iPhone cases and the like 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!

Celebrating Humanity?

In the context of the highly publicized current national and international events, humanity may not deserve a ticker-tape parade.  On the macro level, humanity has little to brag about.  But in the micro scale, the artist’s scale, things of beauty can still be found.  Three different nuggets have tumbled together in my brain to form this topic.

Nugget No. 1:  Have you ever stopped to consider what goes into the creation of a magnificent work of music?  I was listening to the broadcast of a Beethoven symphony last week when the enormity of the achievement struck me:  first, humans had to invent and perfect and pass down instruments; then an individual human had to come up with an arrangement of notes to be played on the instruments all together, only to be achieved after many years of practicing and learning and experimenting; then humans had to learn how to play the instruments and then how to play the notes as arranged by the composer,  which required many years of practicing and learning and experimenting; then it all had to be pulled together so that the individual musicians played a complex composition as if they were a single organism.  To bring the glorious sound to me, there’s the recording technology, the broadcasting technology . . . .  My mind boggled.  One symphony is an enormous human achievement–but an achievement by individuals working alone and together, all of the pieces contributing to the magnificent end.

Nugget No. 2:  For marketing purposes, I have lately been mulling over and over a catch phrase to use to describe my own artistic output.  Seeker of beauty?  Finder of beauty?  I was looking for some way to express the idea that I paint stuff that exemplifies beauty of everyday life, perhaps small stuff that ordinarily gets overlooked.  No messages, no “concept” other than beauty.  Sure, I’m an environmentalist, a landscape painter, convinced that we are hurtling toward our own doom by destroying our atmosphere, but I have no urge to paint, say, an oil refinery as a villain.  If I were to paint an oil refinery, it would be to discover the beauty of the shapes, lines, and values to be found there.  I went back to the mission statement offered to me by Cameron Bennett where he used the phrase “preserving humanity”.  I think he means preserving a record of humanity, since I do not know of a way for art to actually keep us safe.  Is there a dark thought inherent in the idea that such record might one day be needed?  No, I rejected such a gloomy interpretation.   Perhaps the combination of “preserving humanity” and “discovering/revealing beauty” could be expressed as “celebrating humanity”?

Nugget No. 3:   last night I attended the reception for a show of works by Peter Granucci.  The show is called “Memorial to Lost Species”.

Peter Granucci, Alone in Grief

Peter Granucci, Alone in Grief

The drama and anguish exhibited in the above image is repeated in perhaps 20 paintings, all with a human figure and many with the skull of a nonhuman creature. Peter created frames for each piece, which extend the grittiness and turbulence of the backgrounds of the paintings.  The captions on the paintings are pointed references to the losses of species, and the grief we, mankind, ought to be experiencing as a result–   humanity grieving for the species destroyed, grieving for the world lost, grieving, ultimately, for its own viability.  Peter certainly had a message, and he wasn’t satisfied with just one painting to convey that message.  Before inspiration took him into this deep dark place, four years ago, he was like me, painting beauty.  He celebrated the beauty of the female form.  His drawings of the female form are simply exquisite.  But when an emotion overtakes an artist, the output has to reflect it.  Think Picasso’s “Guernica”.  Now think Granucci’s “Memorial”.  The show will be up for the rest of December at the Art Gallery in New England College, Henniker, New Hampshire.

So I am a little shaken by Peter’s message.  And the events on the news.  How can I thank about “celebrating” humanity when humanity does so much that is wrong?

Nevertheless, I share with you the last two weeks’ of Monday life painting:

Better than Climbing Trees

Better than Climbing Trees

The title is a reference to the fact that, after modeling for us in the morning, Robbie was off to climb trees in the process of cutting them down.  That was the Monday before Thanksgiving, and that Wednesday we got hit with lots of wet, heavy snow that felled a lot trees over power lines–my family went without a Thanksgiving dinner this year.  Just thinking, a little adumbration perhaps?

A Lovely Nude

A Lovely Nude

We think this new model might be the answer to Rebecca’s “retirement” (have you missed Becky?).  Interesting how she and Robbie are in almost identical poses, leaning against the wall.

If you remember my very large painting of a cat awakening from a nap (“Nap, Interrupted”) that I started last summer but shied away from finishing because I was afraid of the whiskers . . .

Nap, Interrupted

Nap, Interrupted

here she is with whiskers.  I had to finish her because I promised her to the Currier Museum for the month of December.  Here is how she looks on the wall of the Museum’s Community Gallery, on the lower level where the classrooms and auditorium are:

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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; at the Red Jacket Inn in North Conway; at the Bernerhof Inn in Glen; at the New London Inn in New London; at the law offices of Mesmer and Deleault at 41 Brook St in Manchester; at the Norris Cotton Cancer Center in Manchester (but access is limited to patients and health care workers). And at the Currier Museum of Art, Manchester NH.

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!

 

New Muse

In Saturday Life Group this morning, we had a new model.  Her name is Gwen.  About halfway through the morning, I realized why she seemed so familiar to me:  She had modeled for the figure painting class I took with Sean Beavers last June.  You can see the results of that class here.  I had recruited her for my Monday group, but, after collecting all her contact information, I forgot her name.  What good is contact information if you can’t remember the name of the person you want to contact?

Anyway, everyone there this morning was just thrilled with her.   “So graceful” was how Nancy put it.  “Beautiful . . . everything about her is beautiful”, observed Steve, “even her pregnancy,”  Gwen’s baby is due in February, so she is not all that large with child yet, but we will see her again in January, I hope.

For my part, I haven’t had this good an SLG session for months.  I usually don’t bother looking at my sketch pad after I get home.  Today I not only looked, I “fixed” (sprayed with fixative to prevent smearing of charcoal dust) them and removed a few from my pad in order to prep them for framing!  Here they are, in order of importance, low to high:

Gwen in Five Minutes

Gwen in Five Minutes

Gwen in Ten Minutes

Gwen in Ten Minutes

Gwen in Twenty Minutes

Gwen in Twenty Minutes

Gwen in Forty Minutes

Gwen in Forty Minutes

The Ultimate Gwen (50 minutes)

The Ultimate Gwen (50 minutes)

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; at the Red Jacket Inn in North Conway; at the New London Inn in New London, NH; at the law offices of Mesmer and Deleault at 41 Brook St in Manchester; at the Norris Cotton Cancer Center in Manchester (but access is limited to patients and health care workers). Two Lowell Cemetery paintings are on view at the Arts League of Lowell, 307 Market Street, Lowell, Massachusetts.

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!

 

Three Pies on One Finger

The three pies are:  Landscape en plein air; animal portraiture from photo; and human portraiture from life.  I am happy with all three.

First, the landscape happened when I went down to Boston to collect the painting that was on exhibit at the Arboretum.  A week ago, Thursday, October 30, was a beautiful day–yet another beautiful autumn day in New England–if this is climate change, it’s hard to root against it!  Not willing to devote the trip solely for pickup, I brought my painting gear.  The Arboretum allows me, because I hold a handicapped designation (walking disability–I can walk, but not real far, and even less far with my painting gear on my back), to drive into the garden and park wherever I need to for the sake of art.  The top of Bussey Hill would have been inaccessible to me if I had to rely on my legs to get me there.

On Bussey Hill (in the Boston Arboretum)

On Bussey Hill (in the Boston Arboretum)

From Bussey Hill, the highest point in the Arboretum, you can see the skyline of Boston, and that view was my original target.  But when I got up there, the skyline view was mostly obscured with trees still hanging onto leaves, so I found a better one.  The distant blue mound is probably Blue Hills, to the west of Boston.  Painting foliage in this way is what I consider to be my forte.  So far, the world has not beaten a path to my doorway in response, so maybe I need to find a new forte.

For portraiture, I have two examples since I have had two meetings of the Monday Life Group after my last posting.  The model who posed pregnant and nude for us a few months ago has delivered of her baby, a little fellow named Montain.  That’s a heavy name for such a small scrap of humanity, so I think of him as Monty.  At only a few weeks old, he participated in his mom’s modeling gig.  He was very well-behaved, but he did squirm.  It was an extreme test of the artists’ ability to memorize gestures and get them down so as to create a recognizable babe in arms, not just a blob in swaddling clothes.

Introducing Monty

Introducing Monty

He lost a sock at one point, which delighted me.  He actually sucked on a pacifier most of the time, but I managed to suggest a face without pacifier.  Perhaps I should have gone with the pacifier?  Inasmuch as it felt a little bizarre to have mom nude while the babe was fully clothed, we asked her to return next week prepared to pose for us clothed.  The next image is the result:

Take Two: Mother and Son

Take Two: Mother and Son

Monty’s head is a bit misshapen, so this one must be taken as a work in progress.  Funny how I never noticed that strange shape until I saw this image.

Finally, something different.  I love cats.  I own two female cats, and I live with another two male cats, which one of my granddaughters left behind when she moved out.  The boys are quite young.  Lively.  Pushy.  I have resorted to keeping them separated from the girls, who are exceptionally intimidated by them.  The boys leave no stone unturned in their effort to make sense of the world around them.  Causing stuff to fall to floor is one of their favorite experiments.  But they have stolen my heart.

Partners in Crime (WIP)

Partners in Crime (WIP) 16×12

Blue, the one on top, is just turning one year old this month.  Milo is probably one and a half.  Milo is more respectful of my space.  Blue respects no one’s space, but he does not aggravate the girls as much as Milo does.  Blue will leap on me without warning and just cling onto me until I cradle him.  Bad habit acquired when he was more of a kitten.

I only have a little bit of work left to complete this painting, after which I will have giclees made of it since I have heard that animals sell.  Whether the granddaughter gets the original or a giclee for Christmas remains to be decided.

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; at the Red Jacket Inn in North Conway; at the New London Inn in New London, NH; 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). Two Lowell Cemetery paintings  are on view at the Arts League of Lowell, 307 Market Street, Lowell, Massachusetts.

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!

Dazed and confused

I’m finding it harder and harder to keep all my balls in the air.  The blog ball is usually the first to hit the floor.  As my years pile up, I seem to slow down.  All too often, I tell myself, “You deserve a break.”  “Deserve” maybe, but “can afford”, not so much.   Could the train of artistic success be slowing down to the point where it may become sidelined altogether?  (I can’t resist mixing up a few metaphors.  Trains, jugglers, they seem to go together OK, as in a circus somehow.)

Maybe it’s time to focus on the good stuff that has happened.  Thinking . . .  Well, I got into a regional juried exhibit at the Center for the Arts (CFA) in New London.   To be more accurate, one of my paintings got into the exhibit (as an exhibitionist, I was always a nonstarter).  The chosen painting is “Enchanted”, a 4-foot tall gallery-wrap.  [You can see it on my page titled “Studio Landscapes.]  I painted Enchanted quite a while ago, and it has hung at Hatfields, and at Kimball Jenkins, then briefly at East Colony, where I noticed how warped it had become.  I knew I had to do something to correct that issue before taking it up to New London, so I decided to mount it on a larger, stiff board, like plywood.  But plywood that large would be quite heavy.  So I am using instead a large piece of foam insulation board, which I painted dark brown.

Enchanted, on foam board

Enchanted, on foam board

The board, for all its stiffness and success in correcting the warp, is kind of a fragile surface. That’s worrisome, and I am now debating whether to glue on some thin slats as to mimic a frame, which would protect the edges.  Such a project it has become!

frame added

 

The reception for the CFA exhibit is this coming Friday, November 7, 5-7 p.m. at the New London Inn, 353 Main Street, New London, NH.  Unfortunately, there’s little chance I will get there.  That Friday is one of my Boston Symphony Orchestra Fridays, and we rarely get back to Manchester before six p.m., and New London is another 45 minutes North.  But if you are in the vicinity of New London next Friday night, do check it out and let me know what I missed.

Another upcoming date to be hyper-aware of:  Saturday and Sunday, November 8 and 9, are NH Open Doors.  My personal studio is not participating, but I will be at East Colony Fine Art Gallery on Sunday, demonstrating my painting.  The hours for East Colony are 10 to 4, both Saturday and Sunday.  The address is 55 South Commercial Street, Manchester NH.

I have two new figure studies to show you.  One is Margaret, clothed in a striped shirt.  The second is Nancy, clothed in a different striped shirt.  Nancy is one of us artists, but graciously filled in when our scheduled model couldn’t get there on Monday.  Nancy usually sets up the pose and lighting for us, so when it came to setting up herself and lighting herself, she was handicapped by not being able to judge how it looked.  Looked pretty good, I guess.  I’m happy with my result.  I do love stripes! Why to people assume I’m being sarcastic when I say that?)

Margaret Sept 2014  16x12

Margaret Sept 2014 16×12

Nancy as Substitute Mode

Nancy as Substitute Model

Although it looks as if I had more time with Nancy, and therefore she must be on a smaller canvas, both paintings are on 12×16 panels.  I was forced to paint in a background around Nancy because I was painting over an earlier painting, and I hadn’t covered it up with a neutral ground the way I had done for the Margaret panel.  When forced, I can stretch.

But the Margaret was a struggle, and I wasn’t sure I wanted to show it on the blog.  It does look better “in person”.  (Note to self, must come up with better term to express personhood of a painting.)  But today I couldn’t resist juxtaposing the two poses and their stripes.

Here is a Mark Your Calendar alert:  The NH Institute of Art is holding “Art and Soul“, its 4th Annual Auction in Portsmouth this year.  Thursday, November 13, 6-8:30, at Discover Portsmouth, 10 Middle Street, Portsmouth, NH.  I have donated my Lotus Studies to the cause  (see it on Studio Landscapes page), and the family of my recently deceased friend and law partner, Hilda Fleisher, has donated something from her large collection of contemporary NH art.  I can’t wait to see what it is, out of all the pieces with which I became familiar during her life.  This event is always fun, with great music and food, and artwork.  Tickets cost $45–worth it!–and all proceeds go to fund student scholarships.

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). Two Lowell Cemetery paintings  are on view at the Arts League of Lowell, 307 Market Street, Lowell, Massachusetts. In a few days, Enchanted can be see at the New London Inn (address above).  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!

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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