Abstracting the Landscape, Part 2

Posted by Aline on May 18, 2016

Having recently come off a weekend devoted to abstracting the landscape (see previous post), during which we painted from photograph, imagination, memory, music and purely abstract concepts, I resolved to apply my newly acquired abstracting skills to actual landscapes. No, more correctly expressed: I resolved to TRY to apply those abstracting skills to actual landscapes. I knew it wasn’t going to be easy. The spread of nature’s delights is so seductive that it is almost impossible to reduce a painting to a few good non abstract ideas.

Upper Ammonoosuk Falls, wip

Upper Ammonoosuk Falls, final

The photo on the left is the result of my painting for two hours at Upper Ammonoosuk Falls, getting sucked into the whole nature thing, trying to capture all the rocks and water rivulets. Fighting with myself. Until finally I heard myself remarking to another artist, by the way of encouragement, that depicting falls, boulders, etc. was hard because of the clutter. Clutter. Such an important non abstract concept. I went back to my painting and swept the water down over all my clutter. And it worked. So what if the scene never looked quite like that!

This morning I went over all four of my weekend paintings to see if any adjustments were needed. In the photo on the right you can maybe detect minor but important touches: the large rock slab in the virtual center was grayed back so as not to compete with the white of the falling water; the indeterminate brown area in bottom right was darkened and sharpened so as to clarify that it sits higher and in front of the falling water. I also added a few strokes of white water to the cascade, just to gild the lily. (By the way, while spell-checking Ammonoosuk I discovered YouTube videos of this spot, featuring reckless youths diving into the pools. Here is one of them.)

But did I really abstract my landscape? I did a better job than usual in reducing details. It’s a start. Maybe I’ll do better on the next one?

The next one turned out to be a panorama of intensely green fields dotted with intensely yellow dandelions, backed by periwinkle mountains, covered by gray clouds threatening rain. Because of the high chance of rain, we had driven south to Conway, where there is a bridge overpass that could provide us shelter from the rain while giving us a river’s edge view of an old-fashioned covered bridge. But we each of us got sucked in by the dandelions, and set about creating rain shelters within which to paint. I was riding with Sharon, so we had to find two ways to create painting studios out of one SUV. She had the tailgate. She also had the bright idea of creating a shelter for me out of my big yellow poncho and the two doors of her vehicle. Here’s a photo of me getting set up under my yellow tent. 20160513_152644

The tent cast such a strong yellow light over my painting (but not my palette), that I thought I was losing my mind when every time I scooped up a big blob of white paint to use in the sky, it turned yellow as soon as it hit the sky. The yellow tent had to have affected the rest of my painting as well, but it was only obvious in the sky. As a result, I had not much of a good idea of how my painting was coming along. This is not a good situation to be in, for a painter. However, I was trying to be abstract, so maybe, I thought, hue doesn’t matter. I blocked in the elements I wanted: the intense green pasture, the intense yellow dandelions, the intense blue mountains. Added a few tree and shrub features. Still a result not so abstract, but the important thing was, I was thinking abstractly.

Dandelion Field, wip

Dandelion Field, final

The one on the left is the painting as it was on Friday afternoon; the one on the right received some help today. It needed more yellow in the dandelions since it no longer had the benefit of a yellow poncho glowing all over it. I cleaned up the sky a bit. The photos do not do justice to the yellows and greens. Oh, well. Just keep in mind ALWAYS–the original looks so much better than the photo.

For my third painting, I was fortunate to be able to pick the group’s subject of the morning, and paintings always go better when one is inspired by the subject. There is a railroad that goes from North Conway north through Crawford Notch to a station near the base of the Cog Railway that climbs Mt. Washington. To get through the Notch, the train must travel on rails cut into the granite sides of the pass, and in this particular place, also bridge a gap in the rock face. Especially with the morning light casting a shadow of the rails onto the granite, the tracks create a pattern both arresting and intriguing.

No. Conway RR trestle, wip

RR Trestle in Crawford Notch

On the left side is what I got done on site. We were painting from a parking lot surrounded by growing things in various stages of greening (the trees budded out almost before our eyes–not just overnight but over lunch), so my view of the area below the trestle was obscured. I had installed rough representations of that obscuring growth, but I was bothered by the fact that you could not tell how far away the trestle was, nor how high it sat on the side of the granite face. So I scrubbed the growing things and tried to transform them into rock face. At home, today, I tried to improve on that aspect, as well as the rock formations above the trestle. I’m not convinced that my changes improved the perspective.

For our last outing, we chose a spot not far from our home base (the Bartlett Inn). As before, I resolved to think abstractly, just capture the shapes and colors that represented the site. The color for this one was blue. Intensely blue sky, intensely blue water reflecting the sky. A nice snaky curve in the waterway, good aerial effects for the more distant mountains. Simple elements that I should be able to use for an abstract landscape. Alas, the landscape had other ideas.

Saco River, wipe

Saco River, Bartlett, final

As an abstracted landscape, a pretty miserable failure. But more than passable as a normal plein air landscape, so I forgive myself. The changes I made this morning to the earlier version on the left were mostly in the light greens and the sandy shores. I don’t understand why the blue of the water looks so different now. I think there might have been too much contrast in the first photo. You can tell I have played around with the photo’s color cast, trying to match up with the original painting. The truth of the water lies somewhere between the two versions.

My companions for the weekend were my roommate, Betty Brown; chauffeur, Sharon Allen; colleague from Snow Camp, Suzanne Lewis of Rhode Island; young artist Stephen S from Hooksett; new members Leslie and Paul, from Massachusetts, and of course, the esteemed organizer of this semi-annual Getaway Weekend, Byron Carr of Contoocook. Some if not all of these people have websites where their paintings of the same scenes may or may not be posted.

If you are a regular reader, you have noticed I am employing a different format for the paired photos. WordPress has added new options, and I am learning how to use them. You can click on the above photos to enlarge them and to read their captions. Do you like this format?

Aline Lotter is currently exhibiting:

At the Bartlett Inn in Bartlett; at the Bernerhof Inn in Glen; at the Red Jacket Inn in North Conway; at the New Hampshire Antique Co-op in Milford; at the Norris Cotton Cancer Center in Manchester, part of the Healing with Art program; and at the law offices of Mesmer and Deleault at 41 Brook St in Manchester.

Please save the date of Wednesday, June 22 for a reception at Labelle Winery in Bedford of the Petals 2 Paint show whereat floral designers create live flower arrangements inspired by a painting by participating East Colony artists. This has been an annual event of the East Colony Fine Art artists for many years, but this 2016 show seems likely to be our last as a group. Since the flowers don’t last more than a couple of days, you might as well plan to come for the reception.

As usual, you may view paintings with prices and order prints, phone cases, pillows 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!

October 2015 Artists’ Getaway Weekend.

Posted by Aline on October 19, 2015

WordPress keeps track: it has been 21 days since my last post. Oh, dear! I could look back at my calendar to nail down exactly what happened in these three weeks, but I know you’d rather not hear about physical therapy and closet cleanouts and yard sales. Or mishaps with cars. That last event will have long-lasting repercussions. My auto insurance company does not want me as a customer anymore. I feel humiliated. I’ve had a bunch of smallish accidents–fender benders, we used to call them–followed recently by my backing out of my garage with the hatch back still in the upright position. For safety reasons, cars crumple when they meet resistance, so the old-fashioned fender bender is now a very costly proposition. I never used to have any kind of accidents; in fact for many years I went without auto insurance and I never had reason to regret it. But now I am leasing a car and boy! that insurance coverage is a necessary resource. I am now thinking I need to find a way to survive without the luxury of car ownership. I won’t have to decide until June.

Last weekend Sharon Allen was my ride. She took me and my painting gear with her up to Bartlett for the Fall Artists’ Getaway Weekend. Besides Sharon and me, and Byron Carr of course (he organizes the event), we were joined by Betty Brown (Wolfeboro), Michele Fennell (Kensington), Suzanne Lewis (Rhode Island), Morgan Murdough of Henniker, Sean Carroll, Elaine Farmer of Amherst, and Beverly Belanger with her husband Joe. Our best day was the Thursday travel day. We painted from overlooks first on the Kancamagus Highway and then Bear Notch Road, which is a shortcut to Bartlett when it is not closed for snow. Sharon sold one right off her easel. While she was working on her 6×12 vista view, I was working on a tall tree portrait on a 16×12 panel. The blue peak in the far back is Mt. Chocorua:

Portrait of a Tree in Autumn

Our next stop on Bear Notch Road produced this one from me, more of a vista on a smaller panel (9×12), very representative of my style.

Bear Notch Road overlook

Friday we spent the day at train stations, first the depot in Crawford Notch, then the big station in North Conway. The weather was threatening rain all day, so we chose spots where we could seek shelter and still paint, ergo, train depots. My morning painting never got finished, but it has potential. Trees need skeletons to hold up those leaves. Note the tiny hikers emerging from the path up Mt. Willard.

At Crawford Depot, WIP

It was not finished because after only one hour, all of us agreed that it was simply too cold for us, and besides, we were hungry. We returned to the Inn to eat leftovers from Thursday night’s dinner and get ourselves warmed up for the next round.

The weather seemed somewhat improved after lunch–the rain seemed to have ended and all we had to contend with was clouds and wind. We did not need another train station for shelter, but for some reason, we ended up there. Silly artists! After the afternoon train pulled out of the station for its leisurely trip north to Crawford Notch–the very spot we had abandoned that morning–three of the four of us started a painting that depended on those tracks remaining clear of trains. What were we thinking? And I had deployed a 20×16 panel to work on–way too big to finish in an hour, which is about how much time we had before the train was back. Not a good day in terms of results. But did we learn anything? Beware of tracks bearing trains.

Block-in; clouds over N. Conway

Friday night most of us dined together at the Red Parka and returned to the Inn to drink wine and talk, talk, talk. I held out until the end but it was getting pretty hard to keep the eyelids propped open. It wasn’t even ten p.m. and I usually stay up past midnight.

Arriving late to join us was Ginny Barrett, an artist I know from the Manchester Artists Association. Ginny is not a plein air painter. She was there to do a story about plein air painters on her local access TV program. Her videographer was to join her Saturday and they would be conducting an interview with each artist over the course of the day.

Saturday: Interview Day. To keep all of us in the same general area for the sake of the interviewers, we gathered at the meadow west of North Conway, via the road signed as “Balcony Seat View”. Albert Bierstadt was somewhere near this spot when he painted “Moat Mountain”, a beautiful and accurate vista that hangs in the Currier Museum of Art in Manchester. I learned something about the sun, my eyes, and the deceptions practiced upon me by both. You see, I had discovered years ago that when the sun shines directly on the surface of my painting, I paint too dark. So I avoid that situation, sometimes by using umbrellas to shade my work space, sometimes by turning my back to my subject matter and peeking over my shoulder. And sometimes by facing the sun so that the panel creates its own shade. Saturday morning I could have used an umbrella and faced White Horse Ledge, but I decided to face the opposite direction, and paint what I could see in that direction, which meant the third option: I was looking right into the sun. Imagine my shock and horror when I later discovered that my painting was just as dark as if I had the sun shining directly on it, instead of into my eyes. Michele said it probably had something to do with the narrowing of my pupils in the sun. Here is the result–the painting looks like a nocturne (painting of night scene).

Accidental Nocturne

The cold and wind chased us out of that spot too, so the softest of us (that would include me) decided to try our luck at Glen House. In January a few years ago, when Sharon and I tried to paint en plein air up north in the dead of winter, we had sought shelter at this oasis across from the Mt. Washington Auto Road, and they allowed us to paint inside, looking at the weather through their floor-to-ceiling windows. This time we came in with four painters plus Ginny and Paul (the photographer), but we were again allowed to set up and paint inside. Having already wasted two 16×20 panels, I wisely brought out a 9×12 to use for a modest painting of the clouds and peekaboo mountains. It was snowing on top of Mt. Washington, and the clouds swirled in and out, obscuring then revealing first this ridge, then that one, and the sun occasionally found a hole in the clouds with which to torture us with brief glimpses of light.

The Start of Winter

This was a fun and rewarding project–from the inside, where we were warm and sheltered from the wind. Outside there was rain, there was sleet, there was hail, and of course, some snow. I’ve decided I paint much better when I am not totally miserable. Must be age. Used to be that a little misery took me out of myself and allowed purer artistic instincts to emerge.

Aline Lotter is currently exhibiting:

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. For the month of October I have two paintings in the Womens Club of Concord, part of a three-part 20th anniversary exhibit by the Womens Caucus for Art. However, the hours during which the WCC is accessible to the public are unpredictable. You can visit the other two parts of the 20th Anniversary exhibits at the Kimball Jenkins carriage house and the Concord Chamber of Commerce.

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.

Fresh Air painting

Posted by Aline on September 17, 2015

We hit two locations last week: Wednesday at St. Gaudens National Park in Cornish, NH; and Sunday near Mt. Washington and Crawford Notch. Both times I was with Sharon Allen and Betty Brown, and on Sunday, Mary Crump and Jim O’Donnell joined us. Sunday was Day Three of the annual International Plein Air Painters (IPAP) paintout. I had to skip Days One and Two because of schedule conflicts. I think that was a good thing–I was fresh and rarin’ to go on Sunday.

Augustus St. Gaudens was a sculptor. His two most famous sculptures are the Shaw Memorial, which sits outside the State House in Boston; and Diana, the largest of which lives at the top of Madison Square Garden. A small Diane graces the Currier Museum in Manchester, NH, and another large one is on display in St. Gaudens’ studio. This is the view of her that I could get from the doorway; I was not allowed inside because of my canine companion, Justice.

St. Gaudens’ Diana

Justice was with me as a treat for him. When I leave him at home, I have to lock him in the bathroom because nothing else seems to contain him when he gets the urge to defecate in the living room. To the list of outdoor painting problems, therefore, I have to add the possibility that your dog will scare off strangers who might want to see (maybe buy?) what I am painting. He was pretty good on Wednesday; only chose to bark at two people. Nobody was interested in what I was doing anyway–they were there to see St. Gaudens.

The statuary found in the gardens outside his home were not his pieces. However, he chose the statues to decorate his garden, so they must have enough artistic merit to justify a painting of them. For my first painting at St. Gaudens, I followed Betty’s lead and painted a statue of Pan standing over a fountain of sorts and surrounded by plants with huge arrow-shaped leaves, similar to a house plant that I used to cultivate but whose name has slid out of reach in my memory. Here is my photo of the statue, followed by my painting.

Pan’s Garden

Statue of Pan

Mind you, the light had changed between the time I took the photo and when I got to the point of lighting my composition.

For my second painting (usually I paint two in a day when we are out for the whole day), I wanted to include St. Gaudens’ house. I also fell in love with the light hitting an ornamental grass that graced flower pots that line up to lead down from the house into a semi-secluded outdoor room. Here is my first taste:

Line of sun-struck grasses

Just as I got set up to paint, a rain cloud arrived and slowly passed over. I checked my iPhone, and as far as it was concerned, the sun was still shining. So I sat tight, using two sun umbrellas to shelter in place. Justice was not pleased. I suggested to him that he could get under the chair I was sitting on for pretty good protection, but no, he had to rely on my easel/palette tray.

Here is what my subject looked like for about 20 minutes.

St. Gaudens home in the rain

As a result of the rain shower, and perhaps also the complexity of my subject, I could not finish the painting of the house and garden. I may use photo references of the grasses later to complete the floral grouping in the foreground.

St. Gaudens house and garden (WIP)

Justice did not accompany me on Sunday to Crawford Notch. On Saturday, a friend took him away to Massachusetts for sleepovers, but that left the Great Dane, Honey, all alone. I lined up a few people to let her out periodically.

On our way up to Franconia Notch, the weather was concerning–cloudy, drizzly. Then it perked right up as we continued north of the Notch, on past the Mt. Washington Hotel, which coincidentally was hosting a major art fundraiser for the northern forest. We had to get to the Willey House because Betty and perhaps others would be meeting us there for IPAP. The weather deteriorated. Clouds were very low, and it felt as if it might drizzle at any moment. But it didn’t! We stuck it out. My painting seems to have darkened as it dried, which is odd. If I had had sun lighting my canvas, I would have painted too dark, but I certainly had no sun that time.

Webster Mountain under cover

The ducks were bobbing around back and forth all day, and whenever a new person approached the duck food (actually fish food but apparently good for ducks too) feeding station (25 cents a pop), they would swarm toward that person. I had to have a few ducks in the painting. Those white blobs represent the white feathers. The rest of them–grays, browns– kind of get lost in the water. Here is a different photo of the painting, a little too red but without that bleached out spot and better for discerning ducks:

Webster Mountain under cover

After having lunch at the Willey House, we headed up to the Mt. Washington Hotel. The sun was still shining on the Hotel, but the mountains were still obscured with clouds. In addition to sun, this spot had wind. Most of the artists who were there painting not for IPAP but for the fundraiser were set up on the leeward side of the wide veranda that encircles the hotel. Betty and Mary joined them, while Sharon, Jim and I went in search of an angle from which to paint the horse that we had spotted as we drove into the hotel. It wasn’t easy because of the distance the horses were from the road, and the impossibility of getting any closer. That last line of defense for the horses were cattails, ergo wetlands. The closer vegetation was probably infested with ticks. Wimps we were. And when I sat to paint (which is how I have to now), my line of sight on the horses did not include any legs. Perhaps just as well. I have not painted many horses, and all I had to worry about was the body, neck and head. Legs and feet can come later.

Horses under gray sky

I painted the horses on a panel toned with cadmium red. You can see hints of that red here and there. The sky was the last piece I put in. I liked it with the bright red sky. I hated the whitish gray sky. So before it dried completely, I tried wiping out the whitish gray.

Horses with Pink Sky

Red appealed to me I think because it is dark, and I wanted a dark value in the sky so as to increase the attention paid to the field. It is hard to determine the value of red as juxtaposed to other colors. I supposed I could make a dark blue sky.

So that is what came from two days of painting outdoors in the fresh air, sunny and cloudy and sometimes wet. Before I close, I know that Bad Cat acquired some fans, so here is another shot of him in my bed. His real name, by the way, is Blue. Bad Cat Blue.

Aline Lotter is currently exhibiting:

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.

Mt. Washington Valley in May, 2015

Posted by Aline on May 24, 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.

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 (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 (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 (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 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.

New Hampshire’s Fall Foliage

Posted by Aline on October 21, 2014

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

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

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

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.

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

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

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.

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!

Two weeks of earnest painting

Posted by Aline on June 21, 2014

You know what I just realized? Painting from photographs is way (I mean WAY) easier than painting from life. Obvious? Not until now. Until I painted the Haitian boy carrying the bundle of sticks (see here), I had not painted from a photograph for so long that I had forgotten what it was like. I don’t remember thinking it was easy. But then came the Haitian boy, and I just popped it out with hardly any effort, followed by a pretty decent cat portrait. Then yesterday, after painting two successful landscapes from photographs, after being dissatisfied with two plein air efforts, it hit me. Wow! I’ve been doing all this the hard way. The hardest way! No wonder it has been a bit of a struggle.

On the other hand, I suspect that past struggles to paint from life are exactly what made painting from photographs seem easy.

I will show you first the stuff painted from life, then the recent landscapes from photographs.

Extended pose, green

This large (20×16) figurative work is unusual in that the model (yes, Becky) is standing and we had close to three full sessions of three hours each to work on it. This was the last pose from the open studio course I took with Deirdre Riley.

Extended pose, red (12×9)

Yet another seated pose of one of my all-time favorite male models–so I tried to Think Different, but Better. We had two of our unmoderated Monday sessions for this pose, so I tried to get the drawing perfect, and apply the paint with gusto. Towards the end, I wiped out the left hand (appearing to our right) and started it over after asking him to spread that pinky finger the way I remembered it originally. Good decision. You even get a feeling for his finger pressing into his flesh. (By the way, because of my request, our model traced his fingers on his thigh so as to ensure consistent finger spread between breaks–I call that Above and Beyond the call of model duty!)

After the Monday morning of figure painting, I indulged in a Monday afternoon of landscape painting. I went intending to paint a barn, but found myself seduced by a massive tree and the lavender stones at its base. After about an hour and a half, I had the canvas covered, mostly in green and more green. Horrible. Yesterday I took it in hand and glazed it over in darker shades to alleviate the poisonous green. Here is the Before and After:

Poison! (wip)

Cured! (12×16)

I hope you feel as if that branch is reaching out to grab you. Takes me back to my childhood obsession with the Oz books, in which grabby trees were pretty common.

Wednesday I met up with colleagues (Fran, Cindy, Bea), whom I had last summer dubbed the Cornwall Four (here) because we were drawn together by the workshop “Inspired by Cornwall” last summer, given by Cameron Bennett.

We were in the woods next to Dorrs Pond, on a path trafficked by dog walkers, joggers, distracted school children, disabled adults, delinquent teens, delightful immigrants–and I was accessible to all of them. My chair was uncomfortable–I had to lean forward to paint, and my back could not take it. Enough of excuses. I just felt dull about the whole thing. So yesterday, I tried to pizzazz it up. Mostly a matter of spreading darker colors over most of it and lighter colors where I remember the light being. It satisfies better, but I don’t think it is going anywhere.

A walk by Dorrs Pond (11×14)

All that straining and effort to make a silk purse out of a sow’s ear. What a contrast to the next project. It all started a week ago Friday when Sharon Allen picked me up for a jaunt up North. It was raining, but we were hoping that as we got father north, the sun would appear. It didn’t. But we were on a mission: To paint or photograph the barns of Madison, New Hampshire. Our effort was part of a larger event organized by the Friends of Madison Library, a fundraiser in which our paintings would eventually be offered for sale, commission to the Friends. So we drove around photographing five barns that are part of the event, and whose owners didn’t mind having artists set up painting on their properties. We didn’t encounter any such thing, nor did we ourselves try to paint in the rain. Sharon had brought a tent for us to paint under, just in case we were overcome by irrational desire to paint through the rain. Instead and more sensibly, we photographed madly, even through windshield streaming with water.

So Thursday, with my dissatisfaction with the two plein air paintings painfully in mind, I decided to tone my canvases in burnt umber. Start dark, I strategized, and then block with in the lighter values. It worked! (Chorus of hallelujahs)

Madison Barn #1 (11×14)

Madison Barn #2 (11×14)

I used acrylic paint for the layer of dark. New puzzle. Do I report the media for these two paintings as “mixed”? Some of the dark acrylic undertone definitely shows up in the finished painting. But if I had started on a canvas that was primed in white acrylic, and left some of the white showing, I wouldn’t call that mixed media.

Aline Lotter is currently exhibiting:

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!

Artists’ Getaway Spring 2014

Posted by Aline on May 20, 2014

As promised, I have returned from our semiannual getaway to Mount Washington Valley with landscapes of the North Country. Despite still feeling out of sorts, I pulled myself together enough to produce five small paintings. I felt inadequate, so I took only 8×10 panels and a packet of 9×12 carton papers. This morning I took the photographs, and I guess they aren’t so bad. All were dry, already! I use a lot of Michael Harding paints, which are slower drying than some for some artists, but for me, they dry fast.

Starting from the beginning, Friday morning, we gathered at “Fourth Iron”, a railroad bridge over the Saco River, near the highway (Route 302), with a parking lot made to order for painters and fishermen. We had four new painters with us: Bea Bearden, Kitty Clark, Jeri Bothamley, and Michele Fennel. The “seasoned” painters were Byron Carr (the organizer of the weekend), Sharon Allen (the keeper of NHPleinAir artists), and Jim O’Donnell. We were later joined by Morgan, a regular whose last name has not made it into my memory bank, and newbie Ruth Sears and her guy friend Joe. Add to that mix the innkeepers Miriam and Nick Jacques, and you’ve got quite a lively group, ready to paint and party.

Back to the Fourth Iron. Some of us, including me, painted the bridge; others painted the mountains; still others split off to paint nearby at the Notchland Inn, which, I learned for the first time, has a parlor designed by Gustav Stickley. I have a painting of the Notchland Inn somewhere in my piles of landscapes, and an earlier one of Fourth Iron. Before Hurricane Irene washed out the original road and trees, we had to hike in a little bit to get a good view of the bridge, or scramble down the riverbank to get this view we now get from the parking lot, which was created from the remains of the original road:

Fourth Iron

After lunch, we headed south to North Conway, to an area called Flat Rocks Conservation area, and found a spot on the shoulder of the road where we had nice, unobstructed views of the rocky stream flowing by. We were interrupted by a serious rainstorm, so I never “finished” the painting.

Discovered Bridge

After coming in for the evening, it is our custom to take in what we have been working on and lean them against whatever we can find back at the Inn, mantels, window sills, floors. Luckily, the dog Noodles pays no attention to the wet paintings (mostly oils, a few watercolors) on the floor, and he is not a shedder (“cockapoo”–I painted his portrait as a puppy years ago). A few artists told me they liked my “stone bridge”. They were not, I later learned, referring to the iron bridge built on the stony embankment. So a lousy rendition of a big rock is now officially transformed into the shadowed tunnel under an imaginary but charming stone bridge.

Saturday, Sharon and I went exploring for potential new painting spots in the valley. We stopped at two farmhouses to interview the farmers (of alpacas and strawberries, respectively) about a mysterious road that showed up on Sharon’s GPS. When that investigation bore no fruit, we returned to North Conway to paint behind the restaurant where we ate Thursday night. Mary, the proprietress had told us we were welcome to paint there anytime, and it was a fantastic view across the valley with the Saco River cutting through. I, however, turned my back on that view and took on the fantastical restaurant itself. Ambitious.

In Back of May Kelly’s

Mary brought us coffee and two huge slices of gluten-free chocolate cake, so that was lunch and so much for sticking to my diet. We finished up about two thirty and went back to the Inn (Bartlett Inn). A very tall, very old white birch was still standing on the grounds in front of the cabins, and it was slated for removal, so Sharon and I each painted a portrait of it, dead but still beautiful.

Last Hurrah

That evening, as is our custom, all of the artworks were produced for comment. This is when I learned of the Stone Bridge. When asked which of my paintings was my favorite, I said the birch. Either the company disagreed with me, or they were anxious to help me make it better–whatever, it elicited several points of criticism: the foreground rock was too prominent and should probably be removed totally; the background green was . . . too strong?; the tree on the left was too distracting–it should be de-emphasized by bringing in branches crossing in front, or perhaps (my own suggestion) soften its edges (that is magenta on its right edge!). What do you think?

Sundays we usually pack up, check out of the Inn, and look for one last painting location before wending our ways home. Thanks to Sharon the explorer, this year we collected near a marshy area south of Conway, at Dollof Pond, with a view of Mount Washington. I looked it up on Google maps and found another pond nearby that I wish we could paint just for its name: Pea Porridge Pond. Oh, well, cheating not allowed.

Blue View (off Dollof Hill Road)

Thus ended the tenth annual Spring Getaway. I felt strangely unfulfilled. The next morning, Monday Life Group got me out of bed and into the studio. I brought a used panel, not even sanded down, not even toned over. To reduce distractions from the old painting, I applied a layer of burnt sienna, then added Gamblin’s Fast Matte ultramarine blue. Of course, these underlayers would not dry in time for me to paint over them, so I was asking for trouble, double trouble. The photo below isn’t good either, because light catches the wet paint on all those little protrusions. I dialed the exposure down to minimize the light bumps for you.

Nude with Texture

Something about this painting really appeals to me. The flesh may be a little “muddy” but color is all relative anyway, so I’m not bothered by that. What thrills me is that her right leg looks so real, so fleshy! Her face isn’t bad either. If only I had just a little more time to bring all of it up to that level of accomplishment.

Now I am moving into Panic Mode over the imminence of my Featured Artist stint at East Colony. I have to “hang” this coming Saturday!! OMG. But then it will be done and all I have to do is enjoy. I am paired with Larry Donovan, an artist whose works I noticed long ago at East Colony, so I feel quite honored to be in this position. Who’d a thunk a few years ago, when I hardly knew what was up? We are looking forward to seeing all our friends and collectors at the reception on Sunday, June 8th, from two to four. He wanted two to five, but I am just not up to three hours on my feet, making nice.

I am looking forward to seeing YOU if you are at all able to come, if not to the reception, then at some point between May 24 and June 28. Let me know when you are in town and I will try to be at the Gallery.

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 and Bernerhof Inn in Bartlett; 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; in the lower level of the Bedford Public Library, Bedford, NH; and at her studio by appointment (email: alotter@mac.com).

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

Smorgasbord of Art

Posted by Aline on October 22, 2013

My artistic output last week hit all the bases: nudes, portraiture, experimental landscapes, and plein air landscapes.

Skipping over Tuesday primarily because I don’t remember what I did and I do remember being unhappy with it, let’s start with Wednesday. Wednesday is usually a plein air day, but not last week. Adrienne held another one of her all-day figure study marathons, from ten a.m. until seven p.m. I had no pep, but was determined not to let my health issue stop me. But I could not keep it from slowing me down. Larry Christian and I were the only ones to stick it out to the finish, but I had to stop painting when I ran out of surfaces to paint on. For the last 45 minutes or so, I watched Larry working his charcoal magic on 10-minutes poses of the two models together.

I had two interesting compositions from a side angle:

Foot First

Girl Talk

Foot First was a pose of about two hours, I think. We were late getting up and running, and I had to cut out early to take my daughter to an appointment. The Girl Talk pose was maybe only 20 minutes. No, that can’t be right–it must have been at least an hour.

When the Girls next changed positions, they presented me with profiles of each. After 20 minutes, we found a compromise to keep me happy with long views of the profiles and Larry happy with frequent pose changes. Even as the models changed their poses frequently , they kept their profiles toward me. My view or angle would change slightly each time, but I managed to extrapolate from a current profile to the original profile.

Two Profiles

Thursday was the EEE class, wherein I am trying to discover abstract paintings in my plein air studies. The studies were 11×14. The class projects are 16×20. For both, I used a lot of paint applied with a palette knife. I love thick, juicily painted paintings, a la Van Gogh.

EEE No. 1

EEE No. 2

I was in the Mount Washington Valley and environs all weekend. The semiannual Artists Getaway Weekend organized by Byron Carr and sustained by Sharon Allen’s cohort of plein air fanatics brought together, in addition to Byron and Sharon, Bruce Jones, Sandra Garrigan, Patricia Sweet MacDonald, Jim O’Donnell, Elaine Farmer, a Gentleman Jim from Georgia whose surname I never got. I left for Bartlett after class on Thursday, taking only small panels (8×10) with me. I knew by that time that my fatigue will keep me from covering the usual amount of canvas. Sure enough, I finished only four paintings over Friday and Saturday, despite the fine weather we had.

Saco Riverbed

The Davis Farm

Thorn Hill Road View of Ledges

Mount Washington

The last painting, the one of Mt. Washington, took me only little over an hour, including nodding off time. ( Patricia caught me napping with brush in hand, so there’s no point in covering it up.) It is a simple composition, straightforward in execution. No broken color, no short strokes, no uneven thickness of paint. I was not surprised when many of my colleagues refused to believe it was mine. But they agreed I didn’t likely find it under the pumpkin truck either. I really could not have painted such a distant scene any other way on such a small canvas.

I have a new idea for this week’s EEE class: on my way back from Bartlett, traveling the Bear Notch Road, I took some photographs of the cloud shadows on the mountains up North and am planning to make something abstract out of those images for the class this week.

left center

Aline Lotter is currently exhibiting:

Thumbs down and thumbs up

Posted by Aline on July 8, 2013

The poster competition deadline was today. I submitted last week, after much fruitless agonizing. I’d been obsessing over the lettering issue. I was seesawing between disliking formal lettering and being horrified by small misalignments of hand lettering. Here is where I got to toward the end.

poster, next to last version

As you might notice, the word “and” leaves a lot to be desired. I just couldn’t leave it like that, which meant I had to paint it out yet again. In desperation, I went out and bought multiple sets of stencils and stickers, hoping one of them would solve my problem, but none did. Without really knowing where I was going, I started to paint out the latest version of “and” when I realized that you can still read the letters when they are partially obscured. Clouds, I thought. One of my followers had actully suggested that, and now I was ready for that solution. Which resulted in this:

poster–final version

Am I happy? No, I realized I was never going to please myself, and I had just better stop messing with it. So in it went. I cringe when I focus on the lettering at the top, and just hope I don’t get laughed out of a competition where most of the entrants know exactly what to do with lettering.

On a more upbeat note, the painting (or study) that I created Tuesday turned out really well. I think so, and Peter Clive, our mentor, said about it something to the effect that it was one of my best, and in addition, it showed feeling.

Fletch, in profile

Every day this week I am immersed in a workshop with Steven Assael at the NH Institute of Art. If I can ever get the photos from my phone onto my computer, I will post the progress pictures from his demo. All I can say for now–amazing. I think I have found a kindred spirit. Stay tuned for a shift in my style.

Aline Lotter is currently exhibiting:

at the Hatfield Gallery and the East Colony Fine Art Gallery in Manchester (Langer Place, 55 S. Commercial St., Manchester, NH); at the Kimball-Jenkins Gallery in Concord, NH; at the Bedford Library in Bedford; at the Bartlett Inn in Bartlett; at the Red Jacket Inn in North Conway; at Stella Blu , an American Tapas restaurant in Nashua; at the law offices of Mesmer and Deleault at 41 Brook St in Manchester; at the Norris Cotton Cancer Center in Manchester (part of the Healing with Art program); and at her studio by appointment. Two paintings are also hanging in the Manchester office of Congresswoman Carol Shea Porter.

Do overs and lupines

Posted by Aline on June 25, 2013

A couple of months ago I posted a rave on Anders Zorn, and I think I may have found him a few new fans. Today, I have another, similar artist for you to sample, through a click back to Robert Genn’s site here. The artist is Joachim Sorolla (WA keem SarOYah), a Spanish contemporary of both Sargent and Zorn. He was a master of all the same skills that I admire in Sargent and Zorn, plus he was a magician with white. Not actual white, but that hue as changed by light and shadows.

And now for a commercial: please visit this address for a view of all the artworks accepted into an online exhibit called “Women’s Rights, An Artist’s Perspective”. My painting “Grandma’s Jewels” was juried into this exhibit. All of the artwork in this and similar exhibits is something called “conceptual”, that is, a message is conveyed, to the most intense degree of drama possible. Picasso’s “Guernica”, for example. I think it would be hard to be a conceptual artist all the time, but some artists thrive on it. Personally, I just like to find something beautiful and paint that. Beauty does not convey message, at least not any message that packs a punch.

OK, with all that out of the way, on to this week’s topic: Do-overs. Lupines. In the past few weeks, I have been outside doing a lot of plein air painting. My best paintings have a way of being alla prima, without any going back to correct or improve. In fact, I cannot think of one that I was able to turn from mediocre into superlative. Yet I keep trying! Of my two from the Forbes House (discussed last week here), I did produce one winner, the little one of the “coverlet”. The other one was a bit messy, and I took a knife (palette knife) to it, thinking to reclaim the panel for another project. But that damned Urge to Fix overcame me, and I repainted the bloody thing, using the ghost images as my guide to the placement and shape of the boats.

Milton Landing, before scraping

Marina, repainted

I’m afraid the result may not have been worth the effort, but no effort is really wasted in this learning process. Or is it?

Then last Thursday, I took the day off to go lupine painting with the lupine experts of the NH Plein Air group. Lupines are a flower that blooms in June rather extravagantly in some places. The town of Sugar Hill has so many lupine fields that it holds a “lupine festival” every year to encourage visitors to the area. Lupines come in shades of blue, pink and white, sometimes within one plant, but mostly blues and purples. They look a lot like the Texas bluebonnet. I have had trouble painting lupines in the past, but I wasn’t giving up on them. Yet.

I produced three lupine paintings. Not happy with any of them. The first was the obligatory field of lupines against the backdrop of receding mountains featuring Mount Washington on the misty horizon. The second was lupines by the lake. In both of these, I was really more interested in the receding mountains and the lake, respectively, than I was in the lupines. The lupines seemed kind of stuck on. An accidental presence. So I painted a quick lupine closeup as my third and last opportunity to conquer the lupine hazard.

When I got home, with the advantage of distance from the actual scene, I decided the problem was my schizo approach to the lupines. To make the first two paintings better, I had to downplay the lupines, stop treating them as pimples on an otherwise idyllic landscape. And for the third study, I just needed a few more strokes to define the nature of the lupine and its leaves. Not so much of a do-over, more of a touch up.

I hope you have not been holding your breath! Here they are, the befores and the afters:

Field of Lupines, BEFORE

Field of Lupines, AFTER

Pearl Lake BEFORE

Pearl Lake, AFTER

Lupines close, BEFORE

Lupines, AFTER

Not only am I cursed by this compulsion to fix mediocre paintings, I am cursed by the compulsion to write about it, doubling the time and effort expended. Should I make this my last lupine festival, or is there hope for me?

Aline Lotter is currently exhibiting:

at the Hatfield Gallery and the East Colony Fine Art Gallery in Manchester (Langer Place, 55 S. Commercial St., Manchester, NH); at the Bartlett Inn in Bartlett; at the Red Jacket Inn in North Conway; at Stella Blu , an American Tapas restaurant in Nashua; at the law offices of Mesmer and Deleault at 41 Brook St in Manchester; at the Norris Cotton Cancer Center in Manchester (part of the Healing with Art program); and at her studio by appointment. Two paintings are also hung somewhere in an office of Congresswoman Carol Shea Porter, probably the Manchester one.

Living Free in New Hampshire

Posted by Aline on June 10, 2013

This week’s obsession is a poster contest announced by our gem of a museum, the Currier Museum of Art, in Manchester. First, if you are not already familiar with New Hampshire’s notorious motto, here’s a little background.

State Emblem

“Live Free or Die.” The motto achieved its national notoriety after the NH legislature determined that it must be written on our license plates. Some uppity commie liberal type objected to having such an inflammatory statement attached to his personal motor vehicle, and sued all the way to the U.S. Supreme Court to get it removed. Well, that’s the story my memory came up with, but I know better than to trust my memory anymore, so I looked it up on Wikipedia, and it seems the offended motorist was a Jehovah’s Witness, who reacted not by suing but by covering up the “or Die” portion of the motto because death for a political cause was unacceptable in his religion, and the Supreme Court got involved because he was prosecuted under a criminal statute for defacing the license plate. His conviction was overturned under the First Amendment to the U. S. Constitution–the State could not force him to express a sentiment with which he did not agree.

Although that was something of a slap down, the motto remains on the license plate. I had to look to be sure. New Hampshire does live by the motto: seat belts are not mandated for adults; helmets are not required of motorcyclists; soda cans do not come with a refundable deposit; and taxes, at least those that would reach a broad segment of the population, are abhorrent. Cigarettes, fireworks, gambling and liquor are encouraged. They generate revenue. When we say “free”, we don’t mean “tax-free”. For a comedic take on New Hampshire’s philosophy, see Juston McKinney’s YouTube analysis.

In defense of free living, New Hampshire was an early adopter of same-sex marriage, thereby proving it is an independent thinker. I believe there is also a law on the books to the effect that gun-toters must be allowed to enter courtrooms and legislative chambers with their guns on board. In that last case, the death resulting from living free may not be that of the free liver lover. So you see we have a lot of scope for comedy here.

Anyhoo, the Currier has a contest going for the best poster on the theme of “live free AND _______”—you fill in the blank. The idea is to describe or celebrate something wonderful about New Hampshire, where you may live free and also do some constructive things, things other than killing yourself on the highway.

I had an immediate super-brilliant idea and decided to compete, ignoring the fact that I have zero experience or training as a graphic artist. I ordered ten poster boards from Dick Blick, mostly because you can’t order just one. Extras would be good because I would surely mess up the first few attempts. Then I explored the internet for some hints on how to go about painting on poster board. There wasn’t much out there to help me, but I did learn that applying oil paints directly to the board would not be advisable.

Luckily, I keep some acrylic paints on hand, so I planned to paint a base of acrylic, which would seal the surface and prepare it for the eventual painting in oil. The base would coordinate with my background colors. Once I got going, very confidently since I thought I was still just painting the base, the whole thing just sprang to life. My first acrylic painting. I was stunned. And happy.

Then began the process of lettering. OMG. I proceeded with great care (and concern). Again I conceived a plan: The letters are to consist of their outlines only, because I wanted the background painting to show through. I drew the my letters freehand. I did not want mechanical-looking letters but I did some measuring. I cut them out with an Exacto knife. Not as easy as it sounds. Hard, in fact. I stuck them onto my poster with museum putty to see how they looked. I repositioned them. I redid “. . . and” to make that piece smaller than the “Live Free“. I outlined them using a pen. I painted around the outlines. The unevenness bothered me. I didn’t want it to look professional but I wasn’t going for sloppy either. I tried blurring/bleeding edges with my medium (I was using oil paints at this point). Kind of liked that. Wiped out the word “Free” because letters were too crowded together. Painted with acrylic paint over the wipe-out to create fresh, clean surface for next go ’round.

And that’s where I am. Today I am researching the kinds and uses of stencils, vinyl lettering etc. Should I give up on the outline plan? Guess I am going to have to show you in order to get any feedback.

The above is a close up or detail of the painting, showing paper letters positioned where I planned to outline them. I wished I knew how to make the letters look as if they were actually hanging in front of the poster.

Above is the whole thing, with all of the letters positioned; I must have corrected “HIKE”‘s position before penning its outline in red ink.

Above is the state of the poster before I darkened the upper outlines and before I whitened the “HIKE” outline, and yes, before I got up in the middle of the night to remove the crowded letters forming “Free”. I like “HIKE” now, but am worried about “Live Free”. All of my options for stenciling or applying letters involve letting go of the open outline design. What do you think I should do?

As for the subject image, if you have been reading for a while (over a year). you will recognize it from a 9×12 study that I did for a Patrick McCay course at the Institute called “Explore, Express, Exploit”. I published it in this blog from October 2011. Here is the original inspiration:

The Lone Looker (photo)

I am well and truly exploiting that image of the guy on the rock outcrop that I photographed at 2011’s bike race up Mount Washington, thus fulfilling the promise of that course.

Aline Lotter is currently exhibiting:

The White Mountains of New Hampshire

Posted by Aline on May 20, 2013

New Hampshire has a Seacoast region, a Lakes region, and countless quaint farms and towns, but to the rest of the world, New Hampshire means but one thing: the White Mountains. They do rather stand out, compared to all those other things. I believe “white” comes from the glimpse that early seafarers got of them, when covered by snow. Or perhaps it was the sun glinting off the granite.

In any event, they became the subject of many 19th century paintings. Champney, Bierstadt, and dozens of others explored and painted the Whites. For a complete rundown, go to White Mountain Art. Right now there are two major exhibits of White Mountain paintings, one in Jackson and another in Plymouth. The former we have visited twice before. The latter is housed in a brand new Museum of the White Mountains on the campus of Plymouth State College. We stopped there to check it out on our way to Bartlett last Thursday. We came away with a map showing the coordinates of several locations, that is, the coordinates to the spot where the painter stood to paint or make his sketch (probably not many of the paintings were painted outdoors). My painting buddy, Sharon, aspires to paint like the Old Masters, and her enthusiasm led her to download a GPS app to her smartphone, and led both of us over hill and dale in search of the right spots. It was fun. Unfortunately, progress or tree growth interfered with many replications.

My plein air painting No. 1 is a covered bridge not far from Plymouth.

Smith Millenium Bridge

Friday, we got in two painting segments: the first was in the strawberry fields below Cathedral Ledge.

Strawberry Fields (Cathedral Ledge) (No.2)

Usually, my first painting is my best, I think because the inspirational tug is strongest with the first try. If you don’t count the covered bridge–it was on the way into the mountains, not quite there yet–this is the first. And it could be the best. But there are four more, and you might like one of them better.

Friday afternoon we went on our first expedition in search of Old Master painting spot: Mt. Adams as captured by Champney. The actual spot was right in the middle of the Auto Road up Mt. Washington, but we found a better one off to the side.

Mt. Adams (No. 3)

Mount-Adams-Benjamin-Champney-1852-24-x-30-inches

The snow-streaked mountain in the background of my painting is Mt. Jefferson, and on the far left is the beginning of Mt. Washington, which is a sprawling kind of mountain, lumping its way to the highest point in the Northeast. (Last January I had painted a view of this lumpy part of Mt. Washington on that misery-filled plein air weekend.)

Saturday we found our own spots. The day before, on our way back to the Bartlett Inn from the Mt. Adams spot, a stream near the highway had caught our eye and so the next morning we went in search of it. Sharon sometimes ends up in my paintings, and I was particularly glad of the added interest her hat brought to the scene.

Roadside Painter (No. 4)

After a while, the noise of the traffic hurtling by next to us faded from consciousness and all we heard was the gurgling water.

In the afternoon, Sharon introduced me to Echo Lake, at the foot of White Horse Ledge. It was an idyllic spot. Sandy beach, picnic benched (excellent to paint from–you can really spread out your stuff), lively visitors (and I don’t mean the black flies)–one of whom demonstrated the echo for the rest of us.

White Horse Ledge over Echo Lake (No. 5)

My painting had at one point a much more literal depiction of the ledge, but its very literalness bothered me, so I loaded up my palette knife and spread paint liberally. Perhaps something in between would have worked better. Supposedly there is an image of a horse, whitish maybe, delineated in the cracks of this ledge, but I sure couldn’t see it and I wasn’t about to fake it either.

Sunday was a travel day, but we did get in one painting late in the day before heading back South. It was the product of another Champney search, this time in Sugar Hill. Mt. Lafayette is on the left and Cannon is on the right. Personally, I would call it another view of Franconia Notch.

I’d say this is about half done. The dark clouds arrived, threatening rain, before I even touched the sky. The sky had been a dull gray before that anyway. Cannon is a ski mountain, and I’m not sure I want to put the ski trails in. But why not? I don’t know. View is from Lovers Lane, in Sugar Hill.

All of my paintings on this trip were 9×12, except Roadside Painter which was 10×12. I figured I was out of plein air practice, and the smaller format would help me finish paintings. That was correct. Perhaps smaller will mean more salable too. Eventually, I plan to take them back to hang in Bartlett Inn.

Or I may take them to the Beacon Hill Art Walk on June 2. I am trying to decide whether to take only figurative works, only landscapes, or the best of both. I’m sharing a tent with Bruce Jones, who does beautiful work in the style of Don Stone. I’m not sure I want mine compared to his.

Aline Lotter is currently exhibiting:

at the Hatfield Gallery in Manchester (Langer Place, 55 S. Commercial St., Manchester, NH); at the Bartlett Inn in Bartlett; at the Red Jacket Inn in North Conway; at Stella Blu , an American Tapas restaurant in Nashua; at her law offices at 41 Brook St in Manchester; at the Norris Cotton Cancer Center in Manchester (part of the Healing with Art program) and at her studio by appointment. Through May 30, nine of her Boston Arboretum paintings will be displayed at the Leach Library in Londonderry, NH. On Sunday, June 2, she will be participating in the Beacon Hill Art Walk, in Boston.

Race up Mount Washington

Posted by Aline on April 22, 2013

I’m sharing with you this week a magnum opus WIP (work in progress) that has been in progress for over a year now. It’s not that I’m lazy, at least I don’t think so. Or that I have too many other projects going. I just stopped working on it for many months, waiting for my desire to finish it to return. I explained this in my blog of a few weeks ago, here if you want to read it.

Usually, I am fast to paint and perhaps too fast to declare my painting done. I don’t have time to get bored or the scope to get intimidated. But I almost always have one big painting in the works, and it usually takes me a month or two to work out the problems and declare it finished. This one has been a totally different experience. It has intimidated me with its scope, size and complexity. I now have barely got all the canvas covered, and am only beginning to try to pull it all together as a whole.

Mt. Washington Phase 4

No smart aleck mountaineer (my son) has yet asked, but perhaps I should make it clear that I am not going for accuracy in the configuration of the mountain ranges depicted. The people are, however, based on real people whom I observed at the 2011 Race to the top of Mount Washington. From the hundreds of photos that I took while waiting for my son to finish (33d–that’s really good!), I picked out some vignettes to incorporate in this panoramic scene. I have drawn and/or painted most of them before I started on the present mammoth. (OK, it’s 30×40, not really mammoth, but quite big for me.) Here are my studies, in no particular order:

Fans

Awaiting the Stragglers (3-legged dog)

View of race with vista

Whew! (a top female finisher)

Andy with bike

A Very Special Guy

Bike Race spectator on Mt. Washington (Find him in the magnum opus)

These small paintings are more faithful portraits of the mountains and the infrastructure at the finish line. The two portraits are of my favorite cyclists, the ones I was there to cheer on.

Mount Washington is often referred to, fondly and respectfully, as “the Rockpile”; if nothing else, my painting does give the viewer a sense of why that is. Despite all my practice paintings, I’m still not satisfied with my technique for depicting rock piles. I also intend to enliven my landscape with many more spectators and cyclists. If you examine the distant road, you will see, you might see–some indistinct blobs of color; they are supposed to suggest more cyclists on their way up with spectators along the route.

I would not want to leave you without a nude this week. For the past month or so, I had been sticking to 8×10 and 9×12 canvases for the Tuesday and Friday sessions with live models. Last Tuesday, counting on having my model in her pose for two straight weeks, I brought a larger canvas to work on–16×20. I was using a piece of oil-primed linen from a Centurion pad. If I don’t like all of it when I am finished, I can always cut it down. So I started large.

Figure in Turban and red drape WIP

So far, so good. I have high hopes for this one, but am a bit perplexed by the color of the background. I think I would prefer something that more closely echoed the colors in the turban. Or perhaps a much darker background to set off the figure and the turban. Stay tuned!

Aline Lotter is currently exhibiting:

at the Hatfield Gallery in Manchester (Langer Place, 55 S. Commercial St., Manchester, NH); at the Bartlett Inn in Bartlett; at the Red Jacket Inn in North Conway; at Stella Blu American Tapas restaurant in Nashua; at her law offices at 41 Brook St in Manchester; and at her studio by appointment.

Aging

Posted by Aline on April 9, 2013

Well, it happened again. I forgot to post Monday’s blog. I was so pleased with myself Sunday for taking the photographs and uploading them to WordPress, that I must have subconsicously given myself credit for completing the job. Or it’s age. Twice in three weeks–not good! Good thing I am wrapping up my law practice.

Yes, it’s official. I will not be renewing my license to practice law in the state of New Hampshire at the end of our fiscal year. As of July 1, my status will become “inactive”. Of course it may take weeks after that to tend to my clients and sort through and dispose of the accumulations of 29 years. Some of my clients I will continue to be able to serve (e.g., by preparing tax returns) but for those requiring the services of a member of the Bar, I will try to place them with new lawyers. The tax clients will be the hardest to place–not many lawyers want to represent taxpayers in trouble with the IRS. That’s because usually the trouble originated in some fault of the taxpayer–well, not “fault” exactly, but behavior. When people get smacked down or just depressed, they can’t cope with taxes, and of course, to the IRS, it’s just another same old story. Our system of income taxation confers upon the taxpayers great responsibility and great trust. Alleviating that burden on the taxpayer is, in my opinion, the only decent argument in favor of a sales or value added tax. Thank God I won’t have to even think about this stuff in a few months (except, as I said before, a few tax return preparations).

So this week’s original topic was going to WIPs (works in progress), WIP and RIP (rest in peace) are two possibilities existing simultaneously in a half-finished painting, like alternate universes. RIP means I never return to finish the painting. WIP is a hopeful designation. Two unfinished paintings this week are, I hope, WIP and not RIP.

But let me show you first–three completed charcoal drawings from our Saturday Life Group. I’m pretty psyched about them. Our couple was back, and all of us were a little more at ease with each other and the whole concept of two entwined naked bodies. For one 2-minute gesture pose, they even struck a kissing pose. It dawned on me that I could not get more appropriate pieces for the McGowan Gallery‘s annual Valentine’s show, “Love, Lust and Desire“, than these drawings. And pieces in the show are limited in size to 8.5 by 11, so when I decided to bring my 9×12 high-quality pastel paper to SLG that morning, Fate was with me.

I don’t quite remember (age again?) which poses were what length, but the range was 20 minutes to 50 minutes.

LL&D No. 1

LL&D No. 2

LL&D No. 3

I started all three by smearing the paper with soft charcoal. Then I deployed the kneaded eraser to bring out the lights. The paper was not white, so I could have increased the contrast by using white pastel, but for some reason, I felt that much contrast would be too intrusive. Does that make any sense at all?

WIPs I have several, but the most important is my Mt. Washington Oeuvre. I slapped some more paint on it, and it’s beginning to take shape. I’m getting excited about it again, as the background gets covered with paint.

Phase 3–Biking on Mt. Washington

I have to keep reminding myself that I conceptualized the mountains as semi-abstract. I cannot allow myself to get hung up on painting realistic rocks. For the figures, I need to resize them–the ones farther from the viewer need to shrink a bit. I plan to refer to the original photo references for each figure, on my iPad if I can get it to stop going to sleep. Consistency in the direction of sunlight also needs some work.

The next work was a WIP yesterday, when I should have posted this entry, but when I got to Tuesday life group this morning, everyone else wanted to move on with a new pose. So although I may need to tinker with shapes and values here and there, this is essentially a done deal.

Jon seated on stand wip

By the way, I made up the background at home, thinking to get a head start on today’s session. Head start, finish line, same thing almost. One of my cohorts today commented that I had a nice touch with interiors, suggesting I should consider that as a specialty. So watch out for that as a new theme, possibly. I’m pretty opportunistic, like a leaf in a stream of water, just letting it carry me wherever. So far, no interiors have presented themselves as likely candidates for painting subjects. George Nick did some interiors that I admired greatly (many shown in his gallery of 2008-2010 paintings here), and Paul Ingbretson, just one floor below our studio, has an interior that would knock your socks off (see it here–called Warm and Cool). And Van Gogh was very much into interiors. Can you think of other examples? Seems to me to be a pretty untapped seam. Hope I’m not mixing metaphors there.

Aline Lotter is currently exhibiting:

Hello, Again

Posted by Aline on April 1, 2013

To those of you who noticed and cared that I did not post anything last week, I apologize. To those who never noticed or cared, I don’t know what to say. Really? Your lives did not seem emptier? Mine seemed peculiar. I am so used to the follow up discussion among my friends that it was as if we had lost a piece of our conversation template. Perhaps I have gotten spoiled, so it was a good thing to experience a little deprivation for a short time. I have no excuse for missing a week, if that’s what you are waiting to hear. I suddenly realized on Tuesday that I had never posted the Monday blog, or indeed even taken the photographs with which to illustrate it. Instead of bending myself into a pretzel getting a late entry out, I decided to lie back and wait for complaints, if any. Too few complaints were received. Oh, well.

The upside is all the extra material I have for this week. The headline news is progress on the painting that I started a year ago of bikers racing to the top of Mount Washington. Here is a link to what it looked like last year. I brought it out to work on March 23 because of Peter Granucci. He invited us to his studio in Gilsum (where?–middle of nowhere but close to Vermont) for a workshop on stalled projects. I had the perfect candidate in the Mt. Washington painting. He forced me to do exercises of value studies for the painting, six of them, and claimed that each was better than the one before, and only then was I allowed to apply those principles to my big canvas. So annoying to have to apply real rules when all you want to do is follow your instinct. But my instinct had dried up, I guess, and that’s why the canvas had seen stashed away for a whole year. So now Phase 2, which will I hope lead to 3 sooner than a year from now:

Phase 2 of Mt Painting

Another feature from Figure Fridays with Peter Clive is this 2-session study of Fletch reclining on the ubiquitous brown leather sofa. I had two hours remaining when I finished the figure study, so I started a portrait too.

Reclining Male on Brown Sofa

Portrait Fletch Mar 2013

Compare the new portrait to this one from last month. Am I getting better?

Fletch portrait on darker bkgrd

The Saturday group is back in business after two weeks off. Here is the pick of that session.

Reading (Nook) from back

Finally perhaps my favorite of the group is this portrait of Grace. I think I am finally getting the hang of something–the color of the skin, the modeling of the shoulder, and the light touch for the mouth. I’m really fond of this one!

Portrait Grace Mar 2013

Aline Lotter is currently exhibiting:

Potpourri–Nudes, Landscapes, Almost Abstract

Posted by Aline on February 11, 2013

Sideways (12×9)

Once again I lead off with a nude. I love my nudes. This was today’s. You probably recognize the model. Our Saturday group got cancelled by the snowstorm and my painting from Tuesday is not finished, so it’s the only nude I have for you today. (We have Tuesday’s model again this week, so I will finish that one up and post it before I leave for Florida for two weeks.) I am not sure that I will be able to keep to my Monday blogging schedule while I am down in Florida, but I should be able to post photos of the paintings from time to time.

Today I finally noticed why I sometimes see shadows as orange. When it’s cold in the studio, we used a space heater to keep our model comfortable. The heater glows orange. Her breast looked as if it were on fire yesterday. That was the clue. But it doesn’t explain other orange shadows, the ones on the other side from the heater. Maybe it’s simply what I see, after having one cataract removed. Can’t wait for the other one to go.

I also loves me some landscapes. Without a Saturday Life Group session, I was unleashed to paint a landscape. Ever since the Eric Aho exhibit, I’ve had this notion that I too could paint an abstract landscape if I simply gave myself permission . Turns out, it’s not that easy. I have, in the past, made paintings that look abstract–well, only two, to be exact. One happened in a magical state of unconscious creativity (as seen in hindsight, of course), and the other’s subject matter was inherently abstract. “Spirit Lake” is the former; the name I gave it may be a subconscious bow to the process that created it. Click here to go to my web page showing Spirit Lake.

The inherently abstract one was a close up view of the mangrove swamp in the Ding Darling National Wildlife Preserve.

Mangroves, Ding Darling

So Saturday I taped up a 16×20 piece of oil primed linen on a drawing board, and got out a volume of spectacular photographs by Tim Palmer, of some of the most spectacular scenery in existence. I met Tim some years ago at a Sierra Club meeting, and told him I wanted to use his photographs as inspiration for paintings, and he gladly gave me permission to do so. His book, titled “Luminous Mountains: The Sierra Nevada of California”, had been waiting patiently in my studio all these years to be put into service. I opened the book and did not get further than the frontispiece, a magical scene titled “Volunteer Mountain, Yosemite, at Sunset.” I tried valiantly not to paint the photograph, but I’m sorry to report, my product is not very abstract. Not abstract at all.

California Landscape

It’s also earthier, less magical, than the photograph. Isn’t that strange? I may try again, next time limiting my palette–no blues or greens allowed.

I also took the Saturday opportunity to modify, perhaps improve, the frigid plein air paintings of a few weeks ago. I actually made something of that first effort in the windy, subzero meadow off Route 302.

Mt. Washington from 302, No. 4

The scene of the Jackson church needed some cleaning up, and fresh whites (actually not pure white, but white with a tiny bit of yellow). Compare:

Jackson Community Church, looking west, BEFORE

Jackson, AFTER

The differences are perhaps too subtle to show up in this medium, same as a photograph can never do justice to a painting, unless it is printed as a giclee and there is nothing between you and the giclee print. (No digital interface, e.g.)

Aline Lotter is currently exhibiting:

at the Hatfield Gallery in Manchester (Langer Place, 55 S. Commercial St., Manchester, NH); at the Bartlett Inn in Bartlett; at the Red Jacket Inn in North Conway; at her law offices at 41 Brook St in Manchester; and at her studio by appointment.

In February, you can also view (and purchase–of course!) some of my paintings and drawings at the McGowan Gallery in Concord, NH, (“Love, Lust and Desire” is the theme) and my 6×6’s at the Artstream Gallery in Rochester, NH.

If you happen to be near Orlando, Florida on February 14, 15 or 16, or Tampa, Florida on March 7, 8, and 9, you could (and should) catch Nude Nite, happening with music and other entertainment at these locations, respectively: 639 W. Church St. (blue freestanding warehouse just East of I-4) in Orlando; and 3606 E. 4th Ave., in Tampa. Hours are 6 pm to midnight. (Nude NITE, after all)

Frozen Moments

Posted by Aline on January 28, 2013

My boots were duck hunter’s boots, so wide and thick that I have a hard time climbing stairs in them. I wore four layers on my legs, four on my torso, three on my arms and hands, two on my head, plus a scarf to wrap around my face. My equipment held up well, creaking a little bit but not refusing to lock and unlock. My brushes were frozen but not brittle enough to break. My Gamsol did not turn into jelly in subzero temperatures like my Turpenoid did two years ago. Nevertheless, painting plein air this past weekend in the North Country was a fool’s enterprise.

My biggest surprise was my paint. I made the mistake of leaving it outside overnight. Freezing oil paint is a good way to prevent the large gobs of untubed paint from drying out; it does not damage the paint. But my paint never had a chance to unfreeze before I set out to paint that first crisp morning. (“Crisp” is such an understatement that it is funny–temps were around minus 14 with strong winds adding emphasis.) Once I got my brushes working, I could only poke at the paint and smear it around a little. (Sharon reported that she couldn’t even make a dent in her yellow with a palette knife.) Meanwhile, my face was so covered up that I couldn’t really see what I was doing, and gusts of wind (which fortunately you do hear coming) would periodically force me to hang onto the equipment and endure sprays of snow until the wind died down. I lasted about 20 minutes not counting set up and break down time. Sharon soldiered on for about another ten minutes. [Sharon Allen is the leader of the NH Plein Air painters group, and for the weekend, my chauffeur and guide.] Below are photos of the spot we were painting and our two attempts.

Mt. Washington from Rte 302

Heroic Effort (Sharon’s)

Heroic Effort (Aline’s)

Just for comparison, here is a painting I did in the fall, after a snowfall on the mountains, from the same spot.

Mt. Wash. from 302

Somewhat wiser after lunch, we sought out a sheltered spot for our next attempt. Nothing like an indoor viewing point for sheltering from wind, so we drove up to the Glen House, across from the Mt. Washington Auto Road, and obtained permission to set up in a corner of the restaurant. Sharon painted the view to the north while mine was southwest.

Plein air? Not.

Glen House Painters

In my view is Mt. Washington, but a shoulder obscures the top, so no buildings are visible. It’s the hump toward the left side of my panel. Route 16 runs through the painting but I decided to leave it vague.

Indoor painting of Mt. Washington

The next day, Saturday, was a little better. I think the temperature rose to 5 degrees, and the wind had died down. Nevertheless, we got lots of passersby commenting variously on our bravery, determination, and insanity. I was by that time in total agreement. Knocked down a peg or two was I! Below are photos memorializing these efforts.

Artist or Terrorist? (Sharon)

Frozen Stream

This green tinted frozen water was what had fascinated both Sharon and me. We had not realized how hard it is to depict frozen water. I had never learned of any way to signal to the onlooker that, hey, this is frozen water here–not flowing water, not an empty field.

WIP Sharon

Jackson Community Church, looking west

Jackson Community Church looking east

Above was a view we had planned to paint Saturday afternoon, but the wind! I guess we were lucky to get in a halfway decent morning. The church in this photo is the same one I was trying to paint from my location in the parking lot of the Jackson Historical Society, up river and to the right in the photo. You can see the sign on the building in the background behind Sharon’s easel, which is why I didn’t crop her Work In Progress down to just the painting itself. The Jackson Historical Society has a collection of White Mountain Art, including a few by Benjamin Champney. Metcalf, Gerry and Shapleigh were my favorites in that collection. The parking lot was a great place to paint if you don’t mind being interrupted by passersby, and since these passersby were on their way inside to see White Mountain art, they got our full attention.

But we never found a suitable spot to paint that afternoon or Sunday either. Every time we spotted a paintable spot, we would check the flagpoles. The flags kept up the whipping all the way home. We took pictures and persuaded ourselves that in doing so, we were doing artists’ work. We wandered through Conway, Albany, Moultonborough, Meredith (lunched there), Weirs Beach, Alton Bay, Chichester, Northwood, and Nottingham (there we stopped by Jenness Farm to buy goat milk soap and socialize with the goats).

The Friendly Goats of Jenness Farm

So I conclude that to get more use out of my duck hunter’s boots, I must be alert to a good painting day around home and just seize it. Carpe diem! We have a few warmer days coming up this week.

Aline Lotter is currently exhibiting:

In February, you can also view some of my paintings and drawings at the McGowan Gallery in Concord, NH, and at the Artstream Gallery in Rochester, NH. Receptions for those shows are, respectively, Feb 1, 5-7; and Feb 2, 5-8.

If you happen to be near Orlando, Florida on February 14, 15 or 16, you should go to Nude Nite, a happening at this location: 639 W. Church St. (Blue Freestanding Warehouse just East of I-4). One of my paintings was invited to participate. This one:

Standing Tall

Studies, Ending, Beginning

Posted by Aline on December 5, 2011

This is the last study for my large Mt. Washington Bike Race painting. I numbered it “4” but in fact it is 5 if you count the two portraits in the series. I have started on the big canvas, but the drawing is so rudimentary that I am saving it for a future post, when I hope I will have something of interest to display.

Meanwhile I would like to share with you a minor triumph–well, sort of a triumph and certainly a very minor one. Last Summer (can’t believe it has been that long ago) in the Portraits course I was taking with Cameron Bennett, he crushed me with the observation that an eye was too low on a copy of a Serov portrait that he had assigned us as homework. Here is a link to my report on that last effort. Last week I finally got around to correcting that flaw. I used a ruler. I laid the ruler under the eyes of the original, then under the eyes of my copy. I couldn’t find any discrepancy, yet I had to agree the there was something fishy about my eye. Of course, the color was wrong, but could that obvious flaw have create the misimpression that the eye was too high or low?

Original, by Valentin Serov

My copy of Serov portrait (A)

My copy, after retouching eye

Original Portrait by Valentin Serov

Finally, one more workshop piece, from our (NH Plein Air artists) most recent meeting of the Peter Granucci workshop series, which ironically, requires indoor practice from photographs. The subject this month was snow.

Snow Shadows

Improvements

Posted by Aline on December 5, 2011

Above is a new and improved version of the Rockport Harbor painting from last week. I’m hoping you might be curious to see what can happen to a plein air painting after the artist gets to stare at it in the studio for a while. It all started when I decided that the shape of the red fish house was not quite right. Perspective errors are the worst–they haunt me forever unless I fix them. And once I dive into a painting to make one correction, chances are pretty good that I will find other ways to improve on a painting, even a painting that started out not so bad. (With a bad painting, I’m like a dog with a bone–I won’t give it up.) So, after correcting the shape of the fish house, I made the following changes:

Sky: horizon color–greener

Red fish house: adjusted values of lighted and shaded sides

Blue fish house: changed color of roof

Boats: added clean whites to sun-struck surfaces

Water: brought up reflections of boats, toned down reflection of red fish house

Stone abutments: eliminated highlights, contrast

Rockport Harbor WIP

After making those changes, I submitted the painting to Patrick McCay’s critical gaze in my EEE class, and, following his advice:

Foreground shrub: added darker shadows, to better compete with the dark in the middle boat

Middle boat: inserted lighter shadows into the deck , so that the boat stopped attracting the eye

Red fish house: grayed down the red on the fish house–to comport with aerial perspective rules.

I think it’s done now. Unless something else starts to bother me about it. But I am deep into more studies for the Mount Washington bike race painting and unlikely to give Rockport Harbor another going over.

Here are two Mt. Washington studies, one finished (maybe) and the other, not quite finished–hope you like them!

View of race with vista

At the Finish (WIP)

Aline Lotter is currently exhibiting:

at the Gallery at 100 Market Street in Portsmouth; at the Sage Gallery in Manchester; at the Hatfield Gallery in Manchester; at the Bartlett Inn in Bartlett; at the Red Jacket Inn in North Conway; and at her studio by appointment.

Link to website: www.paintingsbyaline.com

A Best Week

Posted by Aline on November 13, 2011

Some weeks are so full of reportable stuff that I have trouble choosing my topic. Other weeks, I have trouble scaring up a single decent topic. I could save up half of the good-week stuff for a dull week, but who wants to plan for dull weeks? Not me. On the other hand, I don’t want to bore you either, and really now, wouldn’t you rather hear about struggles? This week I can report on a bit of a struggle and its accompanying triumph so that’s what I lead with.

Part I. Alpaca Love. You remember the alpaca farm/ranch from last month?

Alpaca Farm in North Conway

This was the plein air painting from the Bartlett weekend, to which, I announced, I would be adding an alpaca closeup. I had one good alpaca closeup, so I went with that, even though I’d have preferred the animal to be facing more towards the viewer. My closeup did not include the legs either, so I was winging it with regard to the posture and thickness and general shape of the legs.

Alpaca Farm v.2

Pretty awful, right?. I wouldn’t even show it to you before–I couldn’t let it sit out there as if finished when I was going to have to repaint the red alpaca closeup. First, I had to find a better reference photograph.

As it turned out, when I got around to searching my own photographs, I had plenty of good alpaca poses. Thanks to my powerful Nikon SLR camera, alpacas photographed in the way distance still gave me enough enlarged detail to paint a loveable blond alpaca in just the right pose, in just the right spot.

Alpaca Farm, v.3 (Final)

Part II: Supercyclists. Earlier this evening, I delivered two paintings to my son in celebration of his birthday. One of them you have seen already.

Andy as Supercyclist

It depicts him right after finishing the race up to the top of the Rockpile (Mt. Washington). Paint still wet on the second one delivered, is my painting of his friend Kori, from the same time, same place.

Whew!

I love the foreground in Kori’s painting. Strange that where the focus of the painting is the figure of the cyclist, what I love most is how I painted the ground. I would have liked to paint the face more expressively, but I didn’t really have room for that. The two paintings are each 12×9, so the faces are quite small. I wanted to get the likenesses as close as possible, so I had to be careful. Andy’s worked out better because I had only light and shadow anyway, but Kori’s nose, mouth, eyebrows had to fall in the exact correct places, and no smearing please.

My major painting plan, for which these two 12x9s have served as studies, is still on, but the faces in the big one are not going to get any bigger since the plan is to encompass the entire rockpile. I think I need to reuse this scene in a longer painting so as to include more of the shadow, and larger overall, so as to allow more of a slapdash face.

Part II: Lovely Nudes. Finally, for a change of pace, how about a collection of lovely nudes from Saturday Life Group? My best from two weeks ago, and all three from this week:

Arrangement of elbow and knee

Leg on Blue Draped Pillow

Right Side with bent elbow

The back from a left angle

I am wondering if I am getting too heavy-handed with the charcoal. The “Leg on Blue Draped Pillow” has more charm to it, I think, because I had the pose for only 20 minutes and had to keep a light touch. I would like to know if you agree. Or disagree. Either way, it was a good week. Here’s hoping for another one coming up!

Tomorrow (Monday) I pick up my painting from The Rockport (Mass.) Art Association. Unsold. They invited me to apply for membership, and I thought I would if my painting sold, but it didn’t, so I didn’t. A bit far to go for the sheer joy of exhibiting. Although I do hope to get in a plein air painting day tomorrow, which makes a trip worthwhile. Also tomorrow, paintings are being changed out at the Sage Gallery in Manchester, 70 Lowell Street. Please visit this new gallery.

My old website, with multiple painting galleries yet to be transferred to this WordPress location, can be accessed at this address: www.paintingsbyaline.com. Also there are all the images attached to earlier blog entries. Eventually I will move everything here, but it takes a lot of time.

Tale of Woe

Posted by Aline on October 31, 2011

. . . Snow woe? Weather woe? Maybe lack-of-power woe. “Power.” Have you ever thought about the usages of the word “power”. We use it to describe an attribute of people who attain positions where they can control the lives of others. Power is also an attribute of an individual who can control his/her own life. So why does “Power” also refer to electrical current to run lights, furnace, phone, internet, microwave, TV, DVD, and radio, to charge cell phones and Palm Pilots? Because without all those abilities, one is powerless.

Without power (in the technological sense) One is also cold, hungry, and sleepless. So I write this tale of powerlessness–obviously not from home–in a state of grogginess. For the first time in my life, I slept with a Great Dane. I invited her into bed with me when her “mom”, my granddaughter, bailed on us to go spend the night with a friend with “power”. Honey, the Great Dane, usually sleeps with Tabitha, my granddaughter. Tabitha thoughtfully lent us her comforter and Honey was dressed in a woolly sweater. I wore my thermally correct underwear and a snuggly fleece robe-type thing over that. We were warm enough. Well, I was warm enough. Honey was shivering and twitching all night, while I concentrated on hanging on to my share of the bed and waiting for the sun to rise.

Actually, I wasn’t all that hungry because I got to spend a wonderful 4 to 5 hours at a party with artists earlier in the day. Mill Brook Gallery in Concord held an opening for an exhibit that was enchanting in its originality and breadth. http://www.themillbrookgallery.com/ I had been invited by Patrick McCay, one of the featured artists, who is my EEE teacher. (EEE stands for Explore, Exploit, Express–in whatever medium, whatever style.) Two of his paintings already had red dots on them when we got there. “We” because I did not have the use of my car yesterday but got a ride with two other artists, Bea Bearden and David Wells. Through Bea and David I also found myself welcomed to a pot luck supper after the reception. What a pot luck supper it was! It deserves commemoration by publication of the entire amazing menu, but I cannot do it justice on the wing with descriptions like “quiche-type thing” and “rice and beans”. I didn’t go near the pies–no room for dessert.

So in truth I was warm enough and not hungry at all, and only sleepless now. Yesterday, before going off and partying, I used a few daylight hours to tinker with three paintings that I had started in EEE. The third one is my newest one, which you have not yet seen. In order to get enough light in which to photograph it, I brought it to the office with my camera. No tripod though, so it looks a little fuzzy.

Taking a Bow

As the cyclists arrive at the top, someone throws a gray blanket over their shoulders, which keeps them from getting too chilled after their sweaty exertion. The top of Mt. Washington is, even in August, likely to be a chilly place. Andy, who happens to be my son, appears to be wearing a ribbon of some sort, which I only noticed in the course of working on this painting. Will have to find out the significance of that.

The train car in the background is part of the Cog Railway.

In this painting, I believe I have become more of an impressionist, which is kind of what I have set out to do in the EEE class. My highest goal is to emulate Sargent and Sorolla, which to me means using the brush strokes expressively. I really enjoyed working on this painting. It is another of the studies for the larger work I am hoping to get to, the one of the whole top of the mountain with the crowds, the cyclists, and the mountain vistas.

Aline Lotter is currently exhibiting:

at the Gallery at 100 Market Street in Portsmouth; at the Sage Gallery in Manchester; at the Manchester Artists Association Gallery in Manchester; at the Bartlett Inn in Bartlett; at the Red Jacket Inn in North Conway; at the Rockport Art Association Gallery in Rockport, Massachusetts.

Link to website: www.paintingsbyaline.com

Bartlett, October 2011

Posted by Aline on October 17, 2011

Bike Race spectator on Mt. Washington

In my EEE class last week, I painted one of my studies for the Mt. Washington Bike Race painting, and since it is my favorite painting for the week, I start with it. The official title is “On the Top of the Rockpile”. Mt. Washington is, for those of you not from New Hampshire, referred to affectionately as the Rockpile because above treeline, it seems to be nothing more than pile of rocks–quite a few of them loose rocks, which makes the going tough for hikers. Here at the tip top, the boulders are more civilized. I painted this painting on a 9×12 art panel that had been first painted with an acrylic cadmium yellow. You can see some yellow peeking through a thumb print and some smears in the upper right corner. I had dropped the painting, face-down, on a cat-and-dog-fur loaded carpet when I got home after class. The figure escaped undamaged, and the rocks conceal any hairy texture (is the painting now “mixed media”?), but I tried to wipe the sky clean of fur and dirt.

The biannual trip to Bartlett for the artists’ getaway fell on last weekend. “Fell” seems appropriate because the weather was pretty darn awful. We could not visit the Rockpile, or any other tempting peak. In fact, another guest at the Bartlett Inn reported that the Cog Railroad on Saturday started up Mt. Washington but had to back down because of the high winds. Most of us painters sat out Thursday altogether; painted under a roof Friday (pavillion at Swift River Lower Falls), managed to get a few windy hours in before rain started on Saturday, and finally got a rain-free, partially sunny day on the appropriately named Sunday. I usually come home with 5 or 6 paintings from a Bartlett weekend. This time, only three:

Lower Falls

Mt. Washington Valley with Moat Mt. and cornfield

The view above is from the lawn of the Red Jacket Inn. The painting will be exhibited at the Red Jacket once it is finished and framed.

Alpaca Farm in North Conway

I got out my big Beauport easel and a 16×20 panel for the alpaca farm. I intend to add a close up of an alpaca, using one of my photographs. Here is one of my models:

Head Shot

I had to minimize the shadows with my photo editing program (iPhoto) in order to see her amazing face. She came up fairly close to me several times, but each time I could not get my camera in focus quickly enough to get the straight on gaze that I would love to have in the painting.

Not all of the alpacas were this lovely chestnut color. I love that red shade because the edges generate such a warm glow.

Gray Alpaca

White Alpaca

Here are two others, who were not disposed to come so close to me. They are shown galloping toward their owner at the back of the barn, who called them in by shouting “Ladies!” At all other times, their muzzles are buried in the delicious grass.

Aline Lotter is currently exhibiting:

at the Gallery at 100 Market Street in Portsmouth; at the Sage Gallery in Manchester; at the Manchester Artists Association Gallery in Manchester; at the Bartlett Inn in Bartlett; at the Rockport Art Association Gallery in Rockport, Massachusetts.

Link to website: www.paintingsbyaline.com

Brave New World

Posted by Aline on October 6, 2011

The title of this post has nothing to do with any art that I am sharing with you. It refers to my destination after Apple’s iWeb stopping publishing updates to my Blog. OK, I’m not going to complain anymore. I’m just going to get on with it.

I have lots of art to share: a backlog of nudes, my own “Motif No. 1”, sketches from the Mt. Washington Bike Race, and progress in my class with Patrick McCay.

Let’s start with Motif No. 1: Every artist should have a version of this red building, which came to be known as “Motif No. 1” because every artist painting in Rockport, Massachusetts, did have a version of this building. (Google it!) I painted mine yesterday from the “T Wharf”. I debated whether to include the pirate ship–thought it might be too much detail. But I liked the two masts and decided I could handle it. But the pirate ship kept leaving. I think they were selling rides. I would look up to check a detail, and it would have vanished, only to return an hour later.

I was in Rockport to attend the reception for the New England Invitational exhibit at the Rockport Art Association Gallery. Wonderful, large gallery, great reception food, with wine and champagne. Much more elegant than I am accustomed to. On the other hand, they were interested in my name tag, which I bought years ago for Manchester Art Association receptions. It identifies me as an exhibiting artist. Apparently, no one has thought of doing that before, but it was definitely useful. It caused the director to stop and shake hands with me, which I am sure she never would have done but for knowing who I was.

Another plein air enthusiast accompanied me to Rockport and to the reception. In fact, but for Clinton Swank and his car, I would not have been able to get to Rockport at all. Clinton is a young 20-something painter, absorbing knowledge and experience like a sponge. He did not know about Motif No. 1 and chose to paint another scene from the T Wharf even after I told him about Motif No. 1.

The McCay class is called “Explore, Exploit, Express”, maybe not in that order. In the future I will refer to it as the EEE class. This week my project was to repaint the first Bedford Farmers’ Market scene, the one with the multi-colored umbrella, but to paint it as if I had only ten minutes to get it down. It was a mess. But Patrick advised me to blur all the edges and then come back in with fresh strokes of highlights. I gave that a try, and there is where it stands as of today:This one is headed back to class for more help Wednesday, but already everyone who has seen both versions has preferred this version to the original. To view the original, click on the link below. http://web.mac.com/alotter/Paintings_by_Aline/Index_to_Painting_Albums/Pages/Newest_Additions.html

My long range project still involves the Mt. Washington Bike Race. Here are two pages of vignettes that I hope to piece together in a large painting:

Before working on the Big Picture, however, I will paint studies from these sketches. It is my intent, my goal, to keep the brushstrokes loose and fresh.

SLG, or Saturday Life Group, has met four times already! In years past, we would just be getting started in October, but since we meet in a classroom at the Institute (NH Institute of Art), we are subject to the Institute’s calendar, which means there are some Saturdays when we cannot meet there–when prospective students are invited for tours of the campus, for instance. We used to be required to stop working and cover up our model to let groups of impressionable youths come in and inspect our goings on. So instead of suffering such interruptions, we start the season a few weeks earlier.

Here are my best drawings from the past four weeks:

Making News

Posted by Aline on August 22, 2011

The photograph above is one taken by John Tully of the Concord Monitor last Thursday. It led a story by Laura McCrystal on White Mountain painters, then and now. That’s me at the easel, on top of Mount Prospect in Lancaster, NH. Ironically, I had pretty much decided to wipe out that painting, but now that it has been immortalized in print, I may try to rescue it.

How did the Concord Monitor reporter and photographer and I happen to come together at the top of Mt. Prospect in Lancaster? A meeting between the reporter and Sharon Allen, our intrepid leader of the NH Plein Air artists was arranged beforehand, and I just tagged along. It’s a long drive to Lancaster. The article is part of the publicity for the Weeks Act centennial, which I have been mentioning each week in my blog. Mt. Prospect is the site of the Weeks house, now part of the Weeks State Park.

When Sharon and I arrived at the top of Mt. Prospect about 1 p.m., this view toward Vermont was the one that caught my eye. I am very pleased with the resulting painting, but have not yet photographed it for you.

The larger painting that I was working on at 5 p.m. when the photographer arrived is this scene:

Why no photos of the paintings? I apologize. I was so wiped out by what I did Saturday, that I forgot to take care of blog business on Sunday. What was so exhausting on Saturday? How about getting up at 3:30 a.m. to drive up to Mount Washington to watch my son finish the bike race to the top–in the excellent time of 1:11:xx? (xx because seconds don’t register with me.) Here is a photo of him nearing the finish line.

The Mt. Washington race is going to be the subject of my next large complex peopled painting, the second after the Farmers Market painting. I have it all planned out: First I have to compose the course at the top, catching the sinuous curves (is that redundant?) and the distinctive staircase between the summit and the parking areas. At various point on the course I will place some cyclists. Then I will create vignettes of spectators and officials, children and dogs, sketching each group individually. I will position the vignettes on my course. I will draw the entire composition out on paper first, as I learned to do at the Sean Beavers figure painting workshop, then trace it onto my canvas. I can’t wait to get started. It will take months to complete.

Paintings by Aline

A Painter's Progress

Tag Archives: Mt. Washington

Abstracting the Landscape, Part 2

October 2015 Artists’ Getaway Weekend.

Fresh Air painting

Mt. Washington Valley in May, 2015

New Hampshire’s Fall Foliage

Two weeks of earnest painting

Artists’ Getaway Spring 2014

Smorgasbord of Art

Thumbs down and thumbs up

Do overs and lupines

Living Free in New Hampshire

The White Mountains of New Hampshire

Race up Mount Washington

Aging

Hello, Again

Potpourri–Nudes, Landscapes, Almost Abstract

Frozen Moments

Studies, Ending, Beginning

Improvements

A Best Week

Tale of Woe

Bartlett, October 2011

Brave New World

Making News

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