Fabulous!

Duveneck Reader

Duveneck Reader

“Fabulous” was David Curtis’ word for this painting, completed in his Gloucester garden as the last figure-in-the-landscape event.  As if to prove he was not using the word casually, he added that it was a “prize-winner” (or “award-winner”–same thing except some awards don’t come with any prize other than the glory).  I took that pronouncement as a challenge–I went home and entered it in the Artist Magazine competition for Artists Over Sixty.  Doesn’t that narrow the pool so as to benefit my odds?  On the other hand, artists who have been painting all their lives are pretty darn good by the time they attain the age of sixty, which hurts my chances.  If/when I get passed over, I get to tell David Curtis he has been overruled.

The title, “Duveneck Reader”, arises from the fact that the book her right hand is resting on is titled “Duveneck”.  It is an art book about the painter Duveneck, who was affiliated with the Boston Painters.  As such, he occupied a middle ground between academic painting and impressionistic painting–pretty much what I do too.  Anyway, David was so pleased that I included the book and actually thought he could read the word “Duveneck” on the spine of the book in my painting, that he might have been biased in his assessment of the overall quality of the painting.  Hence, I felt I had to include the name in the title of the painting.  (There’s not much logic involved in titling paintings.  Numbering them seems like a cop out to me, so if something just pops into my head, I accept that as a valid title.)

For the competition, I didn’t rely solely on the one painting.  As long as I am entering, I might as well include two more of my recent figures (at the cost of $20 per image).  I chose the Bridal Gown as one, and a nude that I have just completed after three Monday sessions.  The nude furnishes a good example of how very tiny adjustments can improve (I hope!) the overall effect of a painting.  First, here is the painting after the end of the first session:

After one session

After one session

I knew I was going to have two more sessions (each is three hours) with the model in this pose, so I concentrated on getting the proportions and angles correct, in other words, the drawing of the figure.  I could afford to leave the skin tones, facial features, hands, and drapes for another session.

After session two

After session two

After two sessions, the painting seemed almost complete.  Thinking back onto Steven Assael’s demonstration, however, I knew I could improve on the skin tones.

At the end of the third and final session, I had this.

After session three

After session three (try to ignore the shadows at top, from my easel)

My artist companions thought the hands were too small.  The size of the hands had been on my mind throughout as problem areas, and I had measured them against her face, taking into consideration the fact that she does have small hands, and at least one of them was extremely foreshortened in my eyes.  But I accepted the verdict of Laura and Nancy, so after they left the studio, I opened my palette back up and got to work enlarging the hands.

American Beauty (final)

American Beauty (final)

Nancy had suggested I just make the foreshortened hand wider.  I did so, and also blurred the left edge.  The other hand, which had been so difficult to render in the first place, now had to be re-rendered without help from the model’s presence.  Insane.  But the very fact that I had painted it dozens of times with her present enabled me to recreate a slightly larger version without her present.  I think it actually turned out better.

You might have noticed that I hardly touched the red drape after roughing it in the first week.  The shapes of the drapes changed drastically not only between weeks but also between poses–even during poses at one point.  During the second session, one of my cats became enamored of my model and the drapes.  He explored the possibilities and ended up carving out a napping spot behind her hip.  Wiser the following week, I locked all four cats up in my bedroom.

Bad Cat

Bad Cat

Aline Lotter is currently exhibiting:

At the Library Arts Center in Newport, NH;  at the Bartlett Inn in Bartlett;  at the Bernerhof Inn in Glen; at the Red Jacket Inn in North Conway;  at the Firefly American Bistro on 22 Concord Street, 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!

Practice, Practice, Practice!

This week I have hardly painted at all.  I’ve had three doctor appointments, several projects left over from when I was a tax lawyer (translation:  I’m still preparing tax returns for old clients), and various minor household emergencies to deal with.  Nevertheless, I do have something to put out there for your consideration.

I have been messing around with older paintings that never made the grade.  On two of them, I painted an abstract landscape over, and inspired by, the painting underneath.

Red Leaves against Early Snow

Red Leaves against Early Snow

Purple Mountain Majesty

Purple Mountain Majesty

On yet another, which had failed to excite because it was a party scene with no people in it, I set about inventing people.  Seems to me that I should be able to come up with a method for faking believable people in a loosely painted scene. I have looked at some of Sargent’s paintings of his friends logging about on picnics and such, and I observe that there are many spots in his paintings that are totally undefined.  Sargent could paint loosely with confidence.  I am thinking that if I start by just getting figures in the frame, I can worry about developing a confident style later, after I have the general technique down.  This attempt is actually my third; several years ago when I was on my-bike-race-up-Mt-Washington kick, I included crowds of people in the backgrounds of two paintings.  Both attempts were highly successful.  Both were largely abstract.  It should also be noted that I had photographic references for both.  I am pleased to show you:

Andy with bike

My son, the biker.

Fans

Fans

This, my third attempt, could not be abstract because the people are the foreground and the building in the background is pretty sharply delineated.  The buildings started out as the focal point, and now I’m trying to plop these figures in front of it and have it come out looking kind of reasonable. I made up my mind that this exercise did not have to result in a successful painting.

I started with an ocherish color on my brush, and painted in silhouettes of plausible figures.  I found it hard to invent animated gestures.  Maybe that will get easier with practice.  Then I painted other colors, representing clothes and hair, on the silhouettes.  I threw in a few floppy hats and one striped striped.  Here is the result:

Lawn Party at Exeter Inn

Lawn Party at Exeter Inn

I hate to admit this, but I also tinkered with a couple of paintings that I had deemed presentable enough to post on this blog as decent achievements.  With the tinkering I have spoiled them.  I would go back and restore what was obliterated, but I am afraid the paintings will never get back the freshness that made them so pleasing to begin with.  What can I say?  Lesson learned.  Oh, you want to see?  Here is the saddest one–I did have to fill in the background, which is what got me started with the tinkering.  First the original posted version, then today’s:

Natalie 2

Natalie 2

Natalie after Retouches

Natalie after Retouches

All I can say is, thank God I didn’t touch the hair.  But isn’t it curious that by toning down the natural redness of her cheek, chest and arms, I drained the life from her.  Surely that is another important lesson:  let the color chips fall where they will.

Aline Lotter is currently exhibiting:

At the Library Arts Center in Newport, NH;  at the Bartlett Inn in Bartlett;  at the Bernerhof Inn in Glen; at the Red Jacket Inn in North Conway;  at the Firefly American Bistro on 22 Concord Street, 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!

Color Me Encouraged

Last week I was bellyaching about how dissatisfied I was with my paintings, and Fate apparently paid attention, showering me with encouragement this week.  Just a little, no “tens” on the ten-point encouragement scale but maybe, considering all, a solid seven.

First, I partook in the 4th Annual Essex (Massachusetts) Paint Out on Saturday.  It was my first foray into this event but I had heard that the auction was widely supported.  We painted Saturday and handed in the wet paintings before leaving Essex to go home.  On Sunday we returned (I was already in Gloucester for my Figure in the Landscape workshop with David Curtis) for a Silent Auction (4-6) and a Live Auction (6 -7).  About 18 works had been preselected for the Live Auction–works by popular local artists.  About 100 paintings were entered in the silent auction.

Here’s how a silent auction works:  the artist declares a value for the painting (in my case, $325 for each 9×12 wet painting, unframed); the authorities (actually, some computer, they alleged) use that value to peg the minimum/opening bid (in my case, $125).  Each painting is accompanied by a bidding sheet.  The top line states the opening bid.  A bidder writes his/her name on that line.  Thereafter, other bidders could come along and bid higher by writing their names on the next line, and stating the higher bid next to their names.  The first bidder must lurk in the area, watching for such an eventuality so as to strike back with another bid if he/she really wants the painting.  So that is the Sunday scene.

Now back to Saturday.  Flo Parlangeli and I sought out a scene with marshland (for her) and buildings (for me).  Based on a tip I got at registration, we drove to the end of the appropriately named Water Street.  From there, we had a view upriver (the Essex River) to the Town of Essex (buildings, including a steeple, de rigeur for a New England town), and a view downriver toward the bay, eventually toward the ocean.  Downriver was Flo’s choice.

View of the Town

View of the Town

Essex River--Highway to the Sea

Essex River–Highway to the Sea

The edges of the Essex River are very marshy.  Its pace looks relaxed, and its path meanders and splits off to form separate pools here and there.  When the tide is low, mud flats are exposed.  The Town is celebrated for its clams, dug out of those mud flats.

We were welcomed by two brothers who had inherited the house at the end of Water Street, and encouraged to go anywhere on their land, either side of the road, despite the No Trespassing signs.  They also regaled us with inside stories about our location and the town.  The bottom of Water Street had once been called Callahan Point, Callahan being their great grandmother’s maiden name, or Clay Point for the industry of brick making that once thrived there.  Associated buildings are long gone and the land is now all under conservation never to be despoiled again.

Soon we were joined by another artist–from New Hampshire!  Total coincidence.  She was a pastelist and left after lunch, never to be seen again.  We looked for her painting at the auction but could not find it.  I suspect she was a victim of Dissatisfaction.  Speaking of lunch . . . Wow!  I volunteered to go collect the lunches for all three of us since I had finished my first painting.  That turned out to be quite a project.  They served clam chowder (of course), tossed salad, sandwiches of every description, homemade chips, cookies, water and condiments.  I had to choose what kind of sandwiches and figure out how to transport three lidless clam chowders cups to Water Street.

Flo was working all day on one larger piece looking downriver, and didn’t finish until about 4 o’clock.  With that extra time to think, it occurred to me that between us we had two extra tickets to the auction event, so we offered those to our hosts.  One of them said he  would bid on my upriver painting, and indeed he did, and he won it for the opening bid.  My other, downriver, painting also sold, to a local art photographer whose stunning sunset-over-the-marshes view was in the live auction.  (Unless he got outbid–I have not received any word yet of the final bids.)  Unfortunately, Flo’s painting did not find a bidder.  Indeed, a quick glance around the barn of the items up for silent auction suggested that less than half were finding bidders–not exactly what had been anticipated based on prior years’ performances.  I suspect the large format of Flo’s painting might have put off savvy buyers, who are all too familiar with the cost of framing.

We stuck around for the live auction, at first because David Curtis had one in it and I thought I might get a David Curtis painting for an unrealistically low price–what a coup that would be!  However, I fell in love with a different painting and had to go my limit ($300) to get it.

Wildflowers in August by Carole Loiacono

Wildflowers in August by Carole Loiacono

This artist spends half the year in Florida, apparently.  I guess she was not at the auction.  Neither was David Curtis, and by the time his piece came up for bidding, I had “shot my wad”.  Sorry, David.

Riding on the crest of my Essex success, yesterday I embarked with Sharon Allen and Jim O’Donnell on trip up to Wolfboro for the annual paintout sponsored by the Governor Wentworth Arts Council.  This paintout also ends with a sale of some sort, sometimes an auction, other times, a straight sale.  One time, I sold in the silent auction format–$100 for an unframed 8×10, which I had to split with the host organization.  My buyer that year had guarded my painting so that no one else could get near the bidding sheet to compete with her.  I didn’t really mind, because it’s not about the money for me.  I was flattered.

This year we were allowed to set a price, and to be consistent, I put the price of $325 on my 9×12 painting.  Yes, only the one painting.  We had to turn them in at 2 o’clock and I had picked a difficult subject that took almost all of the 4 hours available to me.  There were no buyers for $325 paintings.  $60 paintings, yeah.  I would have attributed my failure to find a buyer to  buyers choosing against me, but for the fact that I WON People’s Choice!!!  I now know how Sally Field felt accepting the Academy Award for Norma Rae.  I had not even voted for my own painting, assuming it wouldn’t even be in the running.  Instead I voted for Jim’s excellent painting of the water vista.  And Jim came in second!  I am so glad I voted for him.  Fate rewarded me.

Proud Winners

Proud Winners

My painting was of a statue in Cote Park called “Sharing”.  1934839_106878732190_121261_n It features two bronze figures and a park bench, which visitors use like a bench for photo opportunities.  If only they’d stay long enough for me to incorporate them into the painting.   The title of the sculpture must refer the “sharing” of the experience of eating ice cream cones by grandfather and boy.   It should be noted that there is a place to buy ice cream down at the docks.  After handing in my painting, I availed myself of a cup of something chocolatey.  A rather large cup.  Turns out, I deserved it!

A Moment to Treasure

A Moment to Treasure

Aline Lotter is currently exhibiting:

At the Library Arts Center in Newport, NH;  at the Bartlett Inn in Bartlett;  at the Bernerhof Inn in Glen; at the Red Jacket Inn in North Conway;  at the Firefly American Bistro on 22 Concord Street, 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!

Dissatisfaction

Dissatisfaction seems to happen like depression–is it a result of some mysterious collision of hormones or synapses (I’m not a scientist!), or is it justified by perceived failure?  I am of course referring to my art.  I can look at a painting that I created and quite admire it if I pretend it’s not mine.  But knowing it is mine, and it is not completely successful in terms of what I had hoped to achieve, I am dissatisfied.  This is very discouraging.  The only way to escape discouragement is to find encouragement from the outside world.  The best encouragement–say the “ten” of encouragement–would be if multiple admirers were competing to purchase a painting.  A “one” on the encouragement scale would be sincere praise.  I don’t mean to devalue sincere praise, but let’s face it, like is not the same as love.

The search for encouragement is why artists exhibit and seek to sell their paintings.  (If they are looking to make a living, they teach, or pursue a career in illustration or graphic arts.)   I think encouragement is also a prime factor in artists taking workshops from other artists; sure, you go to learn, but what you hope to learn is how good you already are!  It’s as if we need a constant infusion of encouragement to keep us going.  I know there are hermit artists whose work sees the light of day only after they are gone (gone=dead or institutionalized), but I cannot imagine how they keep plugging away with little or no input from the outside world.  Such people must be so strong willed, propelled by such an inner vision, that they can only be compared to saints, as celebrated by the Catholic Church.  (I was brought up Catholic and was a pretty devout one until I got out in the Real World where, after two children, birth control became a necessity.)

All is this is a preamble to this week’s collection of recent paintings with which I am not satisfied, completely.  First, here is Margaret back again, after a three-session pose:

Margaret in Blue

Margaret in Blue

Three sessions is long enough to get it all right.  I had to repaint her leg and arm in the third session because I had the perspective so wrong that her leg looked as if, in the words of a fellow artist, it were coming out of her belly.  So it is correct.  But is it inspired?  After the first session, there was (I think) a freshness and spontaneity that is now lost.  How did Sargent manage to labor over his portraits and produce paintings that seem to have been painted casually albeit perfectly with the first stroke?

Two more figure in the landscape paintings have entered the world as the result of workshops in the garden of David Curtis in Gloucester.  First, the orange one:

Figure in Orange

Figure in Orange

She was holding a red parasol, the same  parasol that I painted last summer, but this time, we had sun flowing through it.  The two-piece dress is Indian, a saffron yellow-orange.  Do I have enough light?  No, it does not  pop like it should.  Is the green unrelenting?  Maybe, but it’s not the problem, is it?  Orange and green should produce quite an impact together.  Perhaps the figure should have been bigger.  So I resolve to go bigger with the next one:

Figures in White

Figures in White

This set up is similar to last summer’s red parasol.

Did you speak?

My angle on the figure is so similar, but this time I have more of the face.  Red has been replaced by white.  We are all thinking about Sorolla, who was especially admired for his whites.  The first impression of this painting is pretty good, I’m hoping, but I hate the little area where her right hand comes to rest.  And I wish the parasol sun dapples came across better.  Wish?  That’s what I’m reduced to, wishing it were better.  OMG!

That’s enough dissatisfaction for this week.  Last week, I enjoyed the highly encouraging turnout for my reception at the Firefly last week.  I didn’t count heads, but the place was full and I didn’t have any leftover food to take home.  Thank you, all who showed up and seemed to like it.  For those who didn’t quite get there Monday night, you can still view the paintings at Firefly before September 9, and I recommend you make a reservation to eat in the gallery room.  Their food is excellent!

This weekend there is an event in Essex, Massachusetts, that you should consider attending.  Saturday artists will be crawling all over the town making paintings, and Sunday these paintings will be displayed and offered for sale.  Essex Paint out and Auction Facebook page with all the details.  I am getting up extra early Saturday morning in order to drive down there and participate.

Aline Lotter is currently exhibiting:

At the Library Arts Center in Newport, NH;  at the Bartlett Inn in Bartlett;  at the Bernerhof Inn in Glen; at the Red Jacket Inn in North Conway;  at the Firefly American Bistro on 22 Concord Street, Manchester (reception August 3–5:30 to 7:30–all are welcome); 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!

Must Love Green

Landscape artists complain a lot about the overwhelming greenness of the summertime landscape, and I am no exception.  There are many strategies for avoiding the Green.  Paint seascapes.  Paint buildings.  Paint flower gardens.  When all else fails, “step on” the green of your palette with some red paint.  That last is hard to do when the landscape virtually pulses with bright greens,and you’ll never notice a bright green in an the old master’s landscape.

Vermont is not for nothing known as the Green Mountain State.  Vermont is where I was last weekend.  St. Johnsbury, Newbury, Bradford. Even across the River into Haverhilll and Piedmont, New Hampshire. the greens dominated.  I found I lacked the discipline needed to “step on” my greens.   So if you are going to enjoy the paintings I came home with, you gotta love Green.

First was Friday’s take on farm road behind the Four Corners Farmstead, where we loaded up with salad makings for the weekend.  Just to set the mood, here is a shot of one display in the Farmstand.

What's for sale

What’s for sale

Instead of painting that bounty, however, we three all chose a version of the hill and road behind the farmstand.  (Three is myself plus Sharon Allen and Betty Brown–we met up at the St. Johnsbury Athenaeum and caravanned in two cars down Route 5 to Newbury, then Bradford.)  While we were painting our bucolic road up the hill, it became time for the cows to come home.  They moved from the left, down the hill, across the road, into the meadow on the right and in a line, to a barn way off our picture planes.  Sharon snapped photos to serve as references.  I smeared some cow color and shapes onto my path and hoped they would translate “Cow” to the viewer.

4 Corners Farmstand

4 Corners Farmstand

But what you see is a later version.  The next day, with a little time left at our Saturday venue, I tried to improve on the cows.  From my memory of cows.  Squarish bodies, small triangular heads.  How much leg?  Do they have ears?  After messing with it, I put the panel away in a RayMar carrier, unaware that somehow I had a) dropped a glob of white paint in the middle and b) inserted it wet side to another painting, instead of wet side to the air.  What you see now is the result of rescue attempts made last night.  I had by then a better idea of w hat a cow looks like, thanks to the last painting below.

We were staying with artist Nancy Griswold, at her home in Bradford, Vermont.  Saturday all of us spent the day at the home of another Vt. painter– Robert Chapla.  We were there last year too, see this blog, in which I talk about Robert’s place.  Here is a picture of my easel with two paintings going at the same time.  The background shows what I was looking at.

2 at a time

2 at a time

Although both paintings had significant focal points that were decidedly not green, I felt like the green was out of control.

Robert's Barn

Robert’s Barn

Robert's Rock Garden

Robert’s Rock Garden

Neither of these photos do justice to the intensity of the greens.

Finally, on Sunday, we went exploring the other side of the Connecticut River, where Nancy had scoped out a spot where we could get cows against the backdrop of the White Mountains of New Hampshire.  It turned out that, at the farm she had staked out, the corn had grown too high to see over!  So we reverted to a farm Sharon and I had seen the night before when we were searching up and down Route 10 for a gas station at NH prices.  The Winsome Farm in Piermont had cows and a view of the Connecticut River.  Nancy and Betty, certifiable vista painters, painted in the fields with the river view, while Sharon and I went down the road to get up close and personal with a few cows.

Winsome Cows

Winsome Cows

Sharon says these are Guernsey cows.  I could not verify that.  In fact, I could not find cows like these on the internet. They have a cute topknot, reminiscent of a Mohawk cut.  Cows don’t move a lot, but they do change positions.  Standing one minute, then lying down for an hour.  So I wasted no time getting the cow shapes onto my panel. After having studied these two, I was better equipped to fudge the cows in the first painting.

Aline Lotter is currently exhibiting:

with the East Colony  artists for the rest of July at 163 (167) Water Street, Exeter, NH;  at the Bartlett Inn in Bartlett;  at the Bernerhof Inn in Glen; at the Red Jacket Inn in North Conway;  at the Firefly American Bistro on 22 Concord Street, Manchester (reception August 3–5:30 to 7:30–all are welcome); 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!

July in New England–outdoors in the heat of the sun

I feel a little as if I have been running around without purpose, just answering one call after another to paint outdoors.  But now, looking over my output, I see  there must have been other things absorbing my  time and attention.  Nevertheless, you are not likely to want to see the entire three weeks’ of artworks, and I am in the happy position of picking my favorites to talk about.  I have painted in Manchester, Goffstown, Newport, Portsmouth, Rye, and Newington, all of New Hampshire, plus Gloucester, Massachusetts.  Here are the best of the lot:

Uncanoonuc Garden

Uncanoonuc Garden

This location is on the side of a hill called Uncanoonuc.  Actually, there are two hills by that name, next to each other, and even Wikipedia avers that they are “mountains” with impressive views of Manchester to the east, the Wapack range to the west, and on a good day, Boston to the south. From Manchester, the Uncanoonucs resemble the mounds of a woman’s breasts, and Uncanoonuc is a native American word meaning just that.  One Uncanoonuc boasts a road upwards.  Along the way is a retail plant nursery that has installed groupings of shrubs and flowers to show its customers how lovely is a good landscaping plan.  The blue spruce caught my eye, in part because much earlier in my painting career, I had recreated another Little Blue Spruce.

Little Blue Spruce

Little Blue Spruce–Putney VT 2008

Well, I don’t think I can say my blue spruce technique has improved at all since 2008!  The earlier blue spruce was growing at the studio of the “Putney Painters”, where I was taking a workshop with Albert Handell.  Albert liked my spruce but thought I had crowded it too much with the other trees.  I usually take the advice of masters to heart, but maybe 20 percent of the time, I stay true to my own original intent.  I see his point, but I also admire the pluckiness of the baby spruce staking its own territorial claim under less than ideal circumstances.  I’ll bet today it is crowding that building in the background.

In Newport, in the course of delivering and picking up a painting for the regional show at the Library Arts Center, I got myself invited to participate in the Garden Tour, as a painter.  They had about ten different gardens open for tour, each with different attributes.  I told them I cared only about the flowers, not interested in mountain vistas or water features, so they sent me to the site of an abandoned gravel pit.  The homeowners have been reclaiming the land patch by patch.  As each load of topsoil was dumped into a pile, stuff got planted . I chose to paint the pile devoted to the memory of a beloved dog who had passed the year before.

A Boy and His Dog . . .

A Boy and His Dog . . .

The message set forth on the rustic sign reads “A boy and his dog are joined at the hip and heart forever.”  So instead of flowers, I found myself focusing on hardscape elements of rocks and sculpture, so easily is the artist’s intention waylaid.  When I had finished A Boy, I made another stab at featuring flowers.  I went in search of a floral closeup.

Flower Box

Flower Box

I knew I was doomed to fail at the task of matching the glowing fuchsia reds of the petunias, but set out to try anyway.  The next day, after the paint had set up a little, I was able to add cleaner, brighter color here and there so as to convey the sense of color, even if the exact color remained elusive.  The  straw strands in the basket came mostly out of my head, or rather, out of my memory of my favorite painting by Jamie Wyeth–Hay Bale.

haybalejwyeth352-300x214

Isn’t that the most lovingly portrayed hay bale ever?  A living, almost breathing, hay bale.  Don’t you feel like you could stab it with a pitchfork right on your computer screen?  Just imagine how it looks in person, as I saw it on the wall of the Boston Museum of Fine Arts last year.

I have one more Exeter painting to show–it was painted “live” just before a lawn party at the Exeter Inn.  I painted another during the lawn party, but I don’t love it so much.

Exeter Inn

Exeter Inn

I was pleased with the flowers in this painting, and I hoped my handling of flowers in the landscape might be improving.

Portsmouth and its environs saw a lot of me the past few weeks.  And I saw just the tiniest fraction of paintable spots, so rich is Portsmouth in architecture and marine attractions.  I accumulated three favorites:

Inlet

Inlet, Boat ramp

Entering Prescott Park

Entering Prescott Park

The Zinnias are perhaps too carefully depicted.  Reality is my downfall.

Wentworth by the Sea

Wentworth by the Sea

The biggest challenge here was the shoreline–how to show the transparency of the water’s edge lapping on the rocky beach.

Again this year, David Curtis is giving his workshops on painting the figure in the landscape, in his garden.  Our model was dressed as a bride:

Bridal Portrait

Bridal Portrait

I’m growing weary of green!  Note that the landscape portion of this figure in the landscape is not much more than fuzzy suggestions of landscape.  I felt it had to be thus.

But not all work was done outdoors.  Our Monday life group met twice:

Natalie 2

Natalie 2

Sheridan

Sheridan

All in all, the lesson I have taken away from these three weeks of fairly intense painting is renewed awareness that I still suffer from a deficiency that has plagued me all along.  I’m not “loose” (messy) enough.  Is it that I’m so fast a painter that I end up wasting my time on “cleaning” and straightening and perfecting?  For example, the windows behind the window box were never “finished” because, thank the lord, I realized I could not improve on their rough state.  But examples of overpainting are too abundant.  When will I ever learn?

Aline Lotter is currently exhibiting:

with the East Colony  artists for the rest of July at 163 (167) Water Street, Exeter, NH;  at the Bartlett Inn in Bartlett;  at the Bernerhof Inn in Glen; at the Red Jacket Inn in North Conway;  at the Firefly American Bistro on 22 Concord Street, Manchester (reception August 3); and at the law offices of Mesmer and Deleault at 41 Brook St in Manchester.  Also, on July 23, from 5 to 8 p.m., the doors to all art galleries in Manchester are open and served by a old-time trolley.  I am participating as a member of the Manchester Artists Association in a one-day exhibit at the Rines Center, on the Trolley route.  It’s all free!  See the Open Doors Trolley Night website for more information and a list of venues that have a show going on that night.

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!

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!