Last week, I told you about the Eight Days of Weeks, National Forest celebration, that we NH Plein Air artists turned out for. This week, on Saturday, our numbers at the Flume hub were reduced to just Sharon and me but we celebrated the Weeks Centennial with personal highs–two paintings each that we were happy with. Above is the covered bridge over the Pemigewasset River on the grounds of The Flume. We got a lot of traffic going by, and it was fun interacting with the visitors. By the time we got hungry, the paintings were done. I took this photograph while we were packing up, just in case the painting got bought at the wet painting sale, but of course, no one showed up for the wet painting sale. Late last night in my studio, I took photographs of my entire week’s worth of artworks; I use articifial “full-sprectrum” light that I thought produced images that are good enough. However, the images of the bridge were not nearly as good as the one I took in the field. Makes me think I should stop trying to photograph my painting indoors.
After hanging around for the wet painting sale that wasn’t, Sharon and I headed farther north to enjoy the late afternoon light on Profile Lake, which lies below Cannon Mountain, right in Franconia Notch.
That high point, Sharon tells me, is something called “Eagle Cliff”, but I couldn’t see the eagle in it. Perhaps it has lost crucial parts. Sharon could still see an eagle, but Sharon sees images in just about anything–a habit somewhat annoying to artists whose clouds and rocks are the subject of her scrutiny.
Sunday we found ourselves together again at a Peter Granucci workshop in Londonderry at the studio of Elaine Farmer. The subject of this workshop was wet-surface reflections, including sand and pavements. We also got into the combination of reflection over what might be visible underneath the water.
This is my copy of a detail from a painting by Alfred Thompson Bricher, a White Mountain painter born in Portsmouth, NH. The painting that we copied is called “Time and Tide.”
This one was painted from a photograph. My photograph here is pretty awful–colors are off, but I think you get the idea.
Last Thursday was my last class with Cameron Bennett for a while. He had read my blogs and seemed much less critical of my efforts, but that may be my imagination–as I progress to becoming more critical myself, it may seem to me that he is overlooking egregious errors. Here is Rebecca again, from the other side:
This too was painted in the direct painting method that I used for the homework as described in last week’s blog.
And here is my final effort on that Valentin Serov copy (I erred last week when I identified the Russian portrait artist as “Kerov”):
I worked on this even after the last class last week, trying to get the right eye placed correctly. I had already put hours and hours into that eye, and considered devoting the whole blog this week to the Mystery of the Traveling Eye. I might revisit this topic when I have a better handle on it. If that ever happens! Right now I am so disgusted that I ‘m not even giving you a chance to compare my final (for now) copy to the original.
So it has been a full week for me, and thus wonderful.