Seeing Red

The cover story this week is my Friday painting of Becky, wherein I decided to create a bright red background to set off her figure.  Backgrounds are so often a pain in the neck.  Are there rules?  I don’t know, but I suspect there are some, and I’m pretty sure one of them is, no bright red backgrounds.  I always think of Rembrandt, who knew a thing or two about painting portraits.  All his backgrounds are dark and subdued.  You don’t notice them because you aren’t supposed to notice them.  Sargent, too.  But what about Cezanne?  He did at least one self-portrait in which the background was a quirky yellow and orange pattern of expressive shapes.

Cezanne, Self-Portrait

Cezanne, Self-Portrait

I decided to go with Cezanne on Friday, and express myself in red.


I started this painting still puzzling over the “practice or paint?” conundrum, so I gave myself permission to play around.  But this is what happens:– pretty accurate portrait, rendered about as tightly as I ever get in a three-hour session.  Perhaps the red background is my inner abstract artist expressing frustration!

Saturday we had our last Saturday Life Group meeting until next Fall.  Becky was again the model.  After the quick one-minute poses, the five-minute pose and the ten-minute pose, I got a back view for the 20-minute pose.  That was OK, because it meant my side of the room would get a frontal view for the next, longer pose.

DSC_0004 DSC_0003

However, we paid dearly for that privilege with the last long pose (“long” in this group means between 40-60 minutes).  I could have moved to a different part of the room in order to get more of her body in view, but all of us in my corner went with what we got:  Half a back, a head of hair, and a draped cube.  All three of us deployed color to add interest.  I brought out the compressed charcoal to better make an impression of expression.  Compress expressive impression?  Whatever.  It’s the liveliest of the three:

Stripes with Hair

Stripes with Hair

Change of Subject:  What is majorly on my mind these days is my upcoming stint as the Featured Artist at the East Colony Fine Art Gallery.  Larry Donovan and I are sharing the spotlight for the month of June.  We have talked a little about serving up a coordinated theme, and we have picked a title that will permit just about anything from either of us: Through the Artist’s. . . [Window/Eyes/Viewpoint]–one of those words.  My dilemma is what to showcase:  portraits, nudes, landscapes, or those few abstract-y paintings I have produced.  I am so conflicted that I am ready to trash all the good advice about picking one style or facet and just put up my favorite works whether they look like they came from a single artist or not.  For example, I’d like to show this little half-hour plein-air sketch as well as the six-hour “Margaret and Her Nook“:

Water's Edge

Water’s Edge

Sometimes I discover value in a pile of forgotten panels.  I never photographed Water’s Edge before, but I did frame it and hang it on my wall, where I grew ever fonder of it.  Such a slow-growing affection is a stark contrast to Margaret and Her Nook, which I knew was going to be a successful painting before I had even finished it.

I am planning to construct a floating type frame for “Darkly” as advised by my mentors [see wailing a week ago here, and the painting here], and I am wondering–if I made similar frames for all the paintings I want to feature in June, would that unify them sufficiently to allow my public to appreciate the disparate styles?  Each painting would be mounted on a larger backboard painted black, which backboard will be framed in a simple box, also painted black.  Water’s Edge might call for a narrow gold fillet around the painting itself.  I’m thinking that is the only way I could get away with showing my crazy quilt of art.  But will Margaret shine from such a frame?

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 French Hall (the main building) of the New Hampshire Institute of Art in Manchester, NH; and at her studio by appointment (email:

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 this feedback form.


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