Urban New Hampshire

I have saved up a number of challenge paintings for this post.  The challenges came from the subject matter.  Although landscapes in general are less demanding than other genres because nature is so variable in its beauty, the same cannot be said when architecture, vehicles or people become prominent in the scene.  Perhaps I have been setting myself up for a higher failure rate.  But I can’t learn if I stick to easy subjects.  I’m not sure which of these are failures and which are the successful embodiment of a new direction in my artistry.  I’m feeling my way, so to speak, across the landscape of my creativity.

Newport

First, a large (20×16) rendition from a photograph taken when I realized I had forgotten my chair.  I simply cannot stand to paint for two hours at an easel.  Old bones, or something like that.  So I photographed my inspiration and tried not to become a servant of the photo.  This is a vacant mill (it is for sale) in the Town of Newport, New Hampshire.

The Ruger Mill, Newport, NH

The Ruger Mill, Newport, NH

The lead in to this view of these sunken buildings intrigued me the most:  that curvy downward driveway must have been a nightmare when shifts changed.  The river that powered the mill flows out of sight in the back of the buildings.  I believe that same river is the waterway that led to my next Newport painting.  A one-lane covered bridge next to a rolling park is a kind of hybrid between straight landscape and architecture, but no one can deny a bridge is a construct subject to the laws of perspective.  It was threatening rain the day I was in Newport for this painting, and after I scouted the various aspects of the bridge, it did rain, furiously.  I waited.  After all, I was several hours away from home and there wasn’t any reason to hurry home.  After about 20 minutes I got lucky.  The rain stopped and the sun even came out intermittently.  For an hour.  Suddenly–that means without warning–it started raining hard again so I packed up quickly and headed home.

Newport Covered Bridge

Newport Covered Bridge

I studied the quick block-in long and hard.  I knew the perspective was probably wrong.  The bridge was level, but looks as if it is slanted upward in my painting.  The reflection reinforces that notion.  I consulted the photograph taken when I was scouting, and it shows a bridge going straight and level.  But I really, really wanted to trust what I blocked in at the site.  After all, I was seated while painting, and I had been standing to take photographs.  If I changed the bridge and the reflections, I would have all those stripey shapes that I hate so much.  Ergo, slant stays.  For the good of the art.

Exeter

Again this year I participated in the paint-out fundraiser for the American Independence Museum in Exeter.  I had scouted locations the day before, when I was delivering paintings to our pop-up gallery on Water Street, and spied a good riverfront vantage point on private property that had a sign warning “No Trespassing Fishing . . . [other forbidden activities]”.  There was nevertheless a guy fishing .  I asked him about the sign, whether it was vigorously enforced.  “What sign?” he asked.   He had never noticed, but it didn’t matter:  he lived in the condo complex and gave me permission to paint there the next day.  First, I painted the buildings across the river, but I included a vigorous evergreen that partially blocked my view, instead of moving to the right where the shrub would not block my view.  That meant painting a close up of a potted plant, in addition to the architecture in the background, not to mention the river itself and a boat tied up to a landing.  I felt it might be possible because I had chosen a large panel, 16×12, for the project.  But the evergreen defeated me.

Exeter Riverfront

Exeter Riverfront

Almost from the same spot, I found a charming bridge that I wanted to paint.  The evergreen was in the way again.  For this one, I did stand up, because I really had to in order to see over the shrubbery.  But I knew I only had a hour to paint because the wet paintings were due back at the Museum for the wet paint sale, so I figured, for an hour I can stand.  Note the different treatment I tried out for the same shrub in the second painting.

String Bridge, Exeter

String Bridge, Exeter

Neither painting found a buyer, but in my haste to set up, I mispriced them as if they had been framed.  Just as well, because when I got them home, I improved on the shrubbery.  Not so much but I was happier.

Last week, I was back in Exeter to see if the pop-up needed any help.  It didn’t, so I went up Water Street and painted the scene looking down and back to where our gallery is.  Shrubbery was replaced by automobiles.  They moved in and out of the parking spots in front of me.  What can you do?  I never got a good enough handle on what existed behind the cars, so I had to include the cars.  Maybe I can develop that into a specialty!

Water Street, Exeter

Water Street, Exeter

Portsmouth

Market Square in Portsmouth was the site of an organized paintout last Wednesday.  Only four painters that I was aware of, which including me and Flo, actually participated.  Flo and I settled on the shady corner kitty-corner from the dominant building, North Church, whence I included North Church and the street running to the right and down.  Blocking my view on the right was a tree and Flo, who painted the picturesque row of storefronts behind me.  It would not have been realistic to paint Market Square without vehicles or people.  So I grabbed a few impressions–one trolley and one van for vehicular traffic, and two couples for the human sort.  Traffic is so annoying; it moves.  The parked cars in Exeter were a piece of cake by comparison.

Market Square in Portsmouth

Market Square in Portsmouth

New Boston

Last is the painting I did at the Farmers’ Market last Saturday in New Boston.  A call had gone out on the NH Plein Air list inviting plein air artists, and I answered the call.  I was the only one to do so.  I’m not sure, in retrospect, whether the idea was for the artist to be selling artwork or to be creating artwork.  I had assumed creating, because in years past I had done the same at the Bedford Farmers Market.  So I created.

Under Dogwood, New Boston

Under Dogwood, New Boston

For a little while, I had a group of musicians in the gazebo, but alas, they had to leave after an hour, and without warning!  Well, challenges, right?  Another difficulty was the Dogwood tree.  Since it was in the foreground, like the nasty evergreen shrub in Exeter, I felt I had to do more than suggest a generic tree with white blossoms.  It should convey the idea of a dogwood tree.  Conveying the idea of musicians was much easier!  Go figure!  (Pun not intended.)

So there’s an assortment.  Is anything happening here in terms of this Painter’s Progress?

Aline Lotter is currently exhibiting:

with the East Colony  artists for the rest of June and all of July at 163 (167) Water Street, Exeter, NH; at the Bedford Public Library; at the Bartlett Inn in Bartlett;  at the Bernerhof Inn in Glen; at the Red Jacket Inn in North Conway;  at the NH Institute of Art, 77 Amherst St., Manchester; and at the law offices of Mesmer and Deleault at 41 Brook St in Manchester.

As usual, you may 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!

Lupine Worship

Every year in June, our NH Plein Air group organizes an outing to Lupine country.  “Lupine country” in NH means primarily Sugar Hill, because Sugar Hill encourages the propagation of lupines in support of its annual Lupine Festival.  Sugar Hill is a drive of about two hours from Manchester, where I am.  But great lupine patches do exist elsewhere.  You might therefore think we are a little mad to drive for two hours to find paintable lupines when we could find a closer patch, or even create our own patch at home, given proper conditions.  But we plein air painters are a travelin’ sort, and we would hike into the wilderness for miles when younger and just as mad.  For an example of such a mad artist/hiker/camper, see this blog.

(“Lupine”, also spelled “lupin”, is pronounced with a short “i”, although one online authority allowed as how the long “i” is OK when the word is used as an adjective.  For example, we went to lupIne country to find lupins.  I only bring it up because there seems to be a difference of pronunciation in these here parts.)

My companion on this year’s lupine hunt was Flo Parlangeli.  As if a two-hour drive wasn’t long enough, the adventurous spirit in which we set out Wednesday morning motivated us to take a detour around the Pemigewasset Wilderness, through Crawford Notch, where we had heard of a glorious lupine patch in years gone past.  Alas, tales of its demise had not been exaggerated, but enough remained to justify a quick painting from each of us.

Lupines in Crawford Notch

Lupines in Crawford Notch

Flo's Crawford Notch lupines

Flo’s Crawford Notch lupines (a quick iPhone snapshot)

Lupines are predominantly blue or purple up here, but pink and white exist in small numbers.  As you can see, I prefer blue lupines to purple lupines, so I exaggerate in that direction.  The blue of lupines has been something that has frustrated me from the beginning.  Back in 2009 on my first foray (just before I started blogging, so there’s no entry recording that experience), I thought it was the Ultramarine Blue that was preventing me from getting just the right shade of violet.  Today, looking back, I realize that my red must have been the culprit–it must have leaned toward orange, so when mixed with blue, the hues were neutralized toward brown.  My next stab at lupines occurred in 2011, with better results, I just revisited my blog entry and found this tidbit of wisdom, which I had forgotten between then and now:

  • I have never been satisfied with the color of my lupines in paint, but got a clue from Michael Chesley Johnson in his recent blog on painting lupines in New Brunswick: when the blue of the flowers is applied to a surface of wet paint, the blue sinks into the paint underneath, muddying the blue; so the painter must go back after the oil paint has set up a little bit, with fresh blues to represent the glorious blue of the real life flowers. This I did, and I also blended in a tiny portion of a rose color that I don’t take outdoors with me, to achieve the purply blue lupines.

Unfortunately, the image that I used to illustrate the above statement does not now seem to me to be effective in that regard.

Field of Lupines in Jaffrey

Field of Lupines in Jaffrey

Then in 2013, Stab No. 3  but I was still not entirely satisfied that I had captured the essence of Lupinness (Lupinity?):

Lupines, AFTER

Lupines in 2013

Wednesday, I took with me Magenta and three blues (Cerulean, Ultramarine and Cobalt).  After squeezing them all out on my palette, I kind of swirled them together in an effort to get the impression of purply blues in various proportions.  (Taking a leaf from the Impressionists playbook.)

After that hour in Crawford Notch, we headed back west to Sugar Hill country and proceeded to get  totally and inexcusably lost when we were within only a few miles of our goal.  Another hour wasted!  We remained cheerful because it was a perfect day in June and we were surrounded by wild loveliness, some of it the color of lupines.  After returning to Sugar Hill, we explored its usual offerings, but settled in a unexpectedly cozy spot across from the Sunset Hill Inn, next to the golf course parking lot.  (Sunset Hill House was the scene of two Snow Camps that I blogged about in years past.  Then it failed, and we ended up for Snow Camp last January at the Bartlett Inn.  But Sunset Hill Inn has opened in the same location, with renovations ongoing, solar panels installed on the roof, and a very welcoming Brit in charge.)

Lupines with Irises

Lupines with Irises

Flo's Sugar Hill lupines

Flo’s Sugar Hill lupines  (another hasty snapshot)

I must say that the photographs that I took of my own two paintings in my studio do not truly convey the lightness, the sunlightness, that exists in the originals.  But what else is new!  The only times I have seen photos that looked as good as the paintings is after they have been converted into giclee prints of the painting.

So what have I learned as a result of the lupine hunt and the writing of this blog?  Impressions of lupines work better than portraits of lupines.  Flo’s color sense is so amazing–notice how it led her to emphasize the deep purple of the flowers and the yellow tint in the gnarly tree.  I must work harder on not being literal.

Flo would say that hers are not finished paintings.  She intends to work them up in her studio, I think.  I considered making improvements to my two but decided against it.  Not that they are perfect, but they are what they are–an impression of a string of moments in a delightful spot on a delightful day in June.

However, I will be taking a second look, with Michael Chesley Johnson’s rediscovered advice in mind.  It is true that you can’t avoid getting some yellow from the surrounding greenness mixed into the blue–which grays back the purplyness (purplity?)

Aline Lotter is currently exhibiting:

with the East Colony  artists for the rest of June at 163 (167) Water Street, Exeter, NH; at the Bedford Public Library; at the Bartlett Inn in Bartlett;  at the Bernerhof Inn in Glen; at the Red Jacket Inn in North Conway;  at the NH Institute of Art, 77 Amherst St., Manchester; and at the law offices of Mesmer and Deleault at 41 Brook St in Manchester.

As usual, you may 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!

Ah, Youth!

There must be a trick to it, one as yet still being kept secret from me:  How to portray youthfulness?  I have hear it posited that the facial features of children fit into a smaller area of the head.  As we age, the features enlarge and spread out.  But what about a teenager?  When do their features settle down in the spots preordained for their adult selves?  Why is it so hard to portray rosy young woman without making her look like a made-up hussy?  I guess it’s really the same old issue, that of getting a likeness, just with the added complexity of pinpointing an age range.

Monday’s model was my nineteen-year-old granddaughter.  This is how the camera renders her.

Natalie in pose

Natalie in pose

For most of Natalie’s life, and certainly all of my [ten-year-old] life as an artist, I have been trying to capture her on paper.  Every time I try, I fail.  She always comes out looking older, more sophisticated than her much-older sister.   Monday was my first opportunity to paint her from life and I sure hoped that would make a difference.  One issue seemed to be the length of her nose (as I was presenting it), so I shortened it by bringing down the level of her eyes.  That did help.  Note that this adjustment is consistent with the theory that  children’s features are closer together.

As I griped throughout the session, Laura opined that youthful features are best barely suggested as opposed to carefully implanted.  It certainly did work for her painting.  And now, in hindsight, I can think of some great paintings of children where that is certainly true–e.g., virtually all of Sargent’s paintings of children.   Sigh.  Sometimes it is harder to do less.  No, it is always harder to do less!

Towards the end of our session, she asked me for a photo of her posing next to my painting, for her to send to her social networking sites:

Natalie as model

Natalie as model

And here is the final.  I would not dare to try to correct anything at this point, so glad I am to have got this close to the goal.

Study for Portrait of Natalie

Study for Portrait of Natalie

Aline Lotter is currently exhibiting:

with the East Colony  artists for the rest of June at 163 (167) Water Street, Exeter, NH; at the Bedford Public Library; at the Bartlett Inn in Bartlett;  at the Bernerhof Inn in Glen; at the Red Jacket Inn in North Conway;  at the Sharon Arts Center in Peterborough, NH; at the Buttonwoods Museum in Haverhill, MA; and at the law offices of Mesmer and Deleault at 41 Brook St in Manchester.

As usual, you may 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!

Monadnock

“Monadnock”– a word applied to a lone mountain rising from the land.  Wikipedia claims it comes from a native American word, but I have my doubts.  Maybe the “nock” portion, but come on, “mona” must be from “monos”, the Greek word that we combine to signify singularity–monopod, monocle, monotony.  Mount Monadnock in western New Hampshire is, they say, one of the most climbed mountains in the world–second only perhaps to Fujiyama in Japan.  It provides a fairly easy day hike with a lot of bare rock face from which to admire the views.  I used to do it once a year.  My husband, in the sixties when we visited his aunt on Snow Hill, would run it in the morning from Snow Hill and back again.  Before breakfast.  Looking back, I wish I had gone with him, but I didn’t get into mountain hiking until decades later.

These days, I paint Mt. Monadnock, usually from ground level.  Last Friday, however, Cindy, Fran and I drove to the top of Pack Monadnock to paint one of the many vistas presented there.  All three of us chose Mt. Monadnock as our subject matter.  Pack Monadnock and its neighbor North Pack Monadnock are East of Mt. Monadnock, and there is yet a third, Little Monadnock, to be found in southwest NH.  We like our Monadnocks, but here’s the only one that has achieved star status:

Wapack Trail (Southward)

Wapack Trail (Southward)

The black flies were unmerciful, but an occasional breeze and generous slathering of bug repellant helped to keep us focussed on our painting.  The Wapack Trail is well-used, so we had lots of company complaining about the black flies.  The State maintains the road and the vistas here, and charges each visitor by car $4 each–except “seniors”; I get a free ride.  Thus is the manned fire tower cost offset, partially anyway.  By the way, that yellow triangle painted on the rock in the right foreground is the trail marker for the Wapack Trail, which runs along the ridges of the Wapack Range, from Massachusetts to Greenfield, NH.

I could go on and on about my connections to Monadnock and the reasons I am drawn to paint it, but that would bore the heck out of most people.  So here is a successful figure painting from Monday’s life group session:

Bridal Gown

Bridal Gown

Our model was Tam, who comes here from Vietnam.  She posed for us in her wedding dress.  She was exquisite.

Coming up in Exeter are two events worth noting:  Bruce Jones has arranged for East Colony artists to exhibit their paintings at a storefront on Water Street, for one month, while the owner looks for a buyer for the space.  Our exhibit will coincide with the first Friday Art Walk on June 5, and the American Independence Museum paint out on Saturday June 6.  I’ll be participating in both.

Aline Lotter is currently exhibiting:

with the East Colony  artists for one month at 163 Water Street, Exeter, NH; at the Bedford Public Library; at the Bartlett Inn in Bartlett;  at the Bernerhof Inn in Glen; at the Red Jacket Inn in North Conway; at the Library Arts Center in Newport, NH; at the Sharon Arts Center in Peterborough, NH; at the Buttonwoods Museum in Haverhill, MA; and at the law offices of Mesmer and Deleault at 41 Brook St in Manchester.

As usual, you may 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!

Mt. Washington Valley in May, 2015

Last weekend was the annual spring artists’ getaway to the White Mountains of New Hampshire, and I was happily present.  This time I took some larger panels to paint on, instead of those 9×12 carton paper supports I have been relying upon lately.  I’m a big girl now and I want to paint bigger.  I took three 12×16 panels, one 9×12 panel, and as back up if I needed them, a small stack of the carton paper sheets.

There were eight of us, not very many but very select.  Walt and Ann from western Massachusetts; Suzanne from Rhode Island; Helene, my roommate, from Nashua, NH; Betty from Wolfeborough, NH; and of course the stalwarts and leaders of this plein air event, Sharon Allen and Byron Carr.   It was a great weekend, with the weather cooperating for the most part–rare for a New England spring.  Weather forecasts for rainy Saturday afternoon sent us off course in search of meaningful nonpainting pursuits, none of which really panned out (the museum in Jackson was closed), whereas the weather stayed lovely and would have been ideal for painting.  [virtual teeth gnashing]  I made up for it on Sunday and the good thing is, I never had to dip into the reserve supports of carton paper.

My first painting Friday morning was this one from Pear Mountain Road.

View of Mt. Washington from Pear Mt. Rd.

View of Mt. Washington from Pear Mt. Rd.

I added the telephone wiring after I got home.  I did not want to smudge my lovely blue sky by trying to add the wires into wet paint; besides, at home I had some new tools called “French curves”.  I don’t know the proper method of deploying them, but I picked out an appropriate curve and used it as a guide for my brush.  The resulting lines are almost too confident.  These wires wee a necessary element of this painting.  Here is what it looked like before I added the wires.  The greens in this cell phone version are more accurate than the ones in the expensive SDLR Nikon version above.  (more whining complaint below.)

View of Mt. Washington wip

View of Mt. Washington wip (cell phone photo)

After lunch four of us gathered at Jackson Falls.  I have painted various versions and aspects of Jackson Falls over the years.  How to make this one better?  Feature a big rock instead of all that white water.

Portrait of Big Rock at Jackson Falls

Portrait of Big Rock at Jackson Falls (cell phone photo–because Nikon version too dark)

Since I was working large, I had no trouble filling each half-day stint with just one painting.  I was pretty happy with how things were going so far.  The next day we went looking for a covered bridge because of the Stupid Weather Forecast.  The one we chose is not open to traffic, and usually we would have been content to paint it or paint from it at road level.  This day, however, my painting buddies discovered a way to get underneath the road with a view up at the bridge.  This created a curious problem, one I did not recognize until I had already committed to my vantage point.  Damn covered bridge is essentially four stripes of almost equal width running across the top of painting–that is, if you want to show the water too.  Nothing more monotonous.  I struggled with the size of the stripes.  I messed with the edges.  I toned down the red so as to push the thing into the background.  Still awful.  When I got home, I decided it couldn’t hurt to try scrumbling shadowy darks over the left edge of my bridge, and I think that may have saved it from the scrap heap.  Here are the before and after:

Convergence of Saco and Swift Rivers (before)

Convergence of Saco and Swift Rivers (before)

Convergence of Saco and Swift Rivers (after)

Convergence of Saco and Swift Rivers (after)

OK, the colors don’t match.  For some reason, photographing all of these paintings has been unusually frustrating.  The new Photos app that Apple has forced on me does not give me a way to adjust the level of yellows, blues and reds.  I am not coping well!

That accounts for my three large format, 12×16, panels.  Sunday morning, after the usual fabulous breakfast at the Bartlett Inn (but no rancho huervos this year–I forgot to complain about that!), Sharon and Betty and I followed Byron up a road off Route 3 between Twin Mountain and Franconia Notch:–white water, moss-covered rocks, deep pools.  For the best spot, you needed to be pretty adventurous, but I found a tidy little version close to the road and fought off Sharon for it.  I included some Trillium at bottom left because I saw some on the slope to adventure spot.  This may be my favorite from the weekend.

Woodland brook

Woodland brook 9×12

Aline Lotter is currently exhibiting:

one last week at the East Colony Fine Art Gallery in Manchester (Langer Place, 55 S. Commercial St., Manchester, NH); at the Bartlett Inn in Bartlett;  at the Bernerhof Inn in Glen; at the Red Jacket Inn in North Conway; at the Library Arts Center in Newport, NH; at the Sharon Arts Center in Peterborough, NH; at the Buttonwoods Museum in Haverhill, MA; and at the law offices of Mesmer and Deleault at 41 Brook St in Manchester.

As usual, you may 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!

Patchworking

For the past week or so, I have been patching up old pieces.  One, the portrait of a retired steam locomotive that I called “Sidelined”, has a new background.  I first started this painting behind the North Conway train station when it began to rain.  I finished it using a reference  photograph, which turned out to be useful for getting the details of the engine right.  Then it hung for many months in the Bartlett Inn or the Red Jacket Inn, looking for a lover who never materialized.  What could be wrong with such an appealing subject?  Green, I decided, that boring light green in the background.

Sidelined, v. 2

Sidelined, v. 2

What had been Spring-fresh trees are now autumnally rusty.  There is a richness conveyed by the warmer color backing up the purply black of the engine.  Perhaps the new look will attract a collector.  I would dearly love to sell it now, so if anyone is interested in paintings of trains, I’d love to hear from  you.

In a more recent painting, also from the North Country, I added life.  The scene is the driveway to the Bartlett Inn, viewed from the Inn itself, which I painted en plein air just last January.  I asked the Inn for help in deciding what critter would be an appropriate addition, and they furnished me a photo of a pine marten that they had seen prowling around in the snow.  Perfect!

Pine Marten in Driveway

Pine Marten in Driveway

I admit to being a little unsure about the size of the prowler.  But if I had made him any smaller to account for  his distance from me, I could not have captured his features well enough to identify him as a pine marten.  Here is a link to a WMUR news story with video about the reporter’s encounter with the “rare American Marten” in a snowy, northern NH landscape.  Here is another YouTube video of this adorable creature.  I never knew what a pine marten was before, but now am so pleased to be able to feature one in a painting.

I also have six new works finished or underway.  I’ll share with you the two of the finished ones:  one is a portrait from life; one is a plein air sketch.  The Portrait is a painting of Dee, who modeled for us while back in NH for a visit to family.  Dee was once a regular artist attendee at the Saturday Life Group, and then became a model for our weekday group until his job took him to the midwest.  He also allowed me to draw his portrait in pencil a few years ago.  I should be better now at portraits, but paint is harder than pencil.

Dee in color

Dee in color

Portrait of D N Narzisse

Portrait of D N

I think I like the pencil version better.

The last piece I want to share with you today is from one plein air outing with Nancy Crowley in the alleys of Manchester.  Nancy confessed to being obsessed with alleys, and I joyfully agreed, alleys are the best!  She said this was the best plein air painting she has seen me do, so it must be so.  Nancy is my go-to person for picking apart a painting honestly–and accurately.

Alley View

Alley View

And now for an important and sad announcement:  this May is the last month that the members of East Colony Fine Art will be exhibiting at the gallery in Langer Place.  We are throwing a party, a celebration of our wonderful history at that location, on May 14, from 5 to 8.  You are all welcome.  I will be there only for the first hour as I have to be on my way to Bartlett that night for the semi-annual Artists Getaway Weekend.

I don’t know what will become of the gallery space at Langer Place–that space was meant to be a gallery and a wonderful gallery it was.  The artists of East Colony are exhausted by the efforts from everyone, especially our directors, needed to sustain the Gallery, at a time when the support of the enterprise (sales of artworks) fell short of what the artists needed to feel that their efforts were justified.  Cost vs benefit.  That kind of hard figuring does not come easily to artists, but we had to do it.

Aline Lotter is currently exhibiting:

at the East Colony Fine Art Gallery in Manchester (Langer Place, 55 S. Commercial St., Manchester, NH); at the Bartlett Inn in Bartlett;  at the Bernerhof Inn in Glen; at the Red Jacket Inn in North Conway; at the Library Arts Center in Newport, NH; at the Sharon Arts Center in Peterborough, NH; and at the law offices of Mesmer and Deleault at 41 Brook St in Manchester.

As usual, you may 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!

Drama in Green

Floral Painting No. 3--Green

Floral Painting No. 3–Green

The third and final painting from the Floral Painting course.  (Taught by Deirdre Riley at the NH Institute of Art)  Deirdre set up two compositions for our choices.  The other one was too similar to the setup for my Floral Painting No. 2, although its colors I would have preferred to this one.  This is so green!  Front, back and center–all the same green.  But I liked the dramatic shadow and decided I could vary the greens enough between light and shadow to keep the eye interested.

The hardest object to portray was the yellow flower.  In my mind, anyway.  However, Deirdre had me repaint the foreground rose innumerable times and I’m honestly not sure it got better each time.  Perhaps we can tell by looking at the progress shots!  First, this is a photograph of the actual setup:

Floral Setup

Floral Setup

Then, in sequence from hour 1 to hour 6:

After one hour

After one hour

After 3 hours

After 3 hours

after 4.75 hours

after 4.75 hours

after 6 hours

after 6 hours

Floral Painting No. 3--Green

FINAL:  After 9 hours

I forgot to take progress shots during the final three hours.  The differences between the final (9-hour) version and the version at six hours is color.  Pinks were added or intensified in the vase and the pink flowers, respectively; greens to the right of the vase were yellowed to get rid of the chalkiness that bothered me, and to assimilate some of the shadows that were too blue; white sparkly highlights were stroked in.  The topmost rose, which had boasted a translucency that I liked, gained more heft with the extra red.  I’m torn as to which treatment I like better.  I suppose the more red, the better–to counteract all the green.

Oh, yes, I almost forgot–the value of the shadow behind the vase on the left went from where it was the week before to a very dark, shocking dark, and then moved back toward neutral until I could stand it again.   The purpose of darkening the background at that point was to enable a deeper value for the white vase.  The purpose of using a darker value on the vase was to enable the white highlights to show up better.  Speaking of the vase, I altered its shape slightly.  The bottom is wider and the top longer and more slender than the original.  It just looks more elegant than a squat vase, to my eye.  And the taller shape contributes more to the composition.

The roughest section (in the sense of least “finished”) is the underskirt.  During the first session, I had applied some fierce (and satisfying!) strokes, thinking to deal with it more responsibly later, but later decided I liked it as is.  Deirdre said nothing about it, but she was always concerned primarily with the flowers.  Until those blossoms were perfect in her eyes, she had no eyes for anything else.  The flowers had to GLOW–and take form as a cup shape–before she was satisfied.  It’s hard to see a cup in an open blossom because the spotlight passes through it, illuminating all sides, and you need to be true to that illumination to create the glow.  I felt sometimes like Alice in Wonderland, negotiating an imaginary landscape.

I loved this course and would take it again from Deirdre.  I worry that her compositions/setups were critical to my success.  Will I be able to do florals successfully on my own?  Stay tuned.

Aline Lotter is currently exhibiting:

at the East Colony Fine Art Gallery in Manchester (Langer Place, 55 S. Commercial St., Manchester, NH); at the Bartlett Inn in Bartlett;  at the Bernerhof Inn in Glen; at the Red Jacket Inn in North Conway; and at the law offices of Mesmer and Deleault at 41 Brook St in Manchester.

As usual, you may 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.

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