The Prodigal Cat Returns

In 2004, before I even started painting, I read an article in a cat magazine, while I was waiting in the veterinarian’s office, about what a great cat this newly recognized breed, the Pixie Cat, was.  Smart, friendly and almost dog-like in the way they connect to people, Pixie Bobs look like a small version of a wild bobcat:  short tails, spotted markings, tufted ears.  I was intrigued, and set about looking for a breeder in New Hampshire.  I found just one, and as luck would have it, she had a kitten with a “bad” tail that was in need of a good home.  The tail was bad because it was too long and ended in a crook.  I reimbursed her for her veterinarian fees and took title to the little fellow.  He was about 10 weeks old.  He had been named “Winchester” but we were not about to call him that.  My granddaughter decided his name should be “Freckles”, for the little spots on his muzzle.

Freckles as kitten

He came to me already microchipped.  We had at least two cats already, and there was a cat door available for free travel in and out.  The other cats weren’t much into going outside.  Freckles, however, was an adventurer.  Once, a neighbor, who happened to be a firefighter, had to climb up a tall pine tree to retrieve him.  Another time, he went missing for a whole week, so I posted laminated posters all over the neighborhood with his picture and a description of the crooked tail.  Almost immediately, I got a call from an ex-neighbor who had just come to check out the vacant property she had for sale–he was stuck on her roof! She was ready to take him to her new home when she noticed the poster.

Frequently he could be found chilling’ on the rocker on the porch of a house up the block; they wanted to claim him as theirs too, but fortunately he had already acquired a rep and most neighbors knew where he belonged, even if they didn’t know me.  He enjoyed car rides and would hop right into one without invitation.  But I figured he was safe, because of  his microchip.  Sadly, I now know that for a microchip to work, it has to be looked for.

Freckles was one of my very first attempts at a cat portrait, and that painting is still one of my most successful, if you measure success by how quickly viewers fell in love with the subject.  I had used that portrait as him Missing Cat poster photo.

Freckles_Cat - Version 2

Then in December of 2010, when Freckles was six years old, he got caught outside in a snowstorm.  I never saw him again–until last week.  All these years, I had hoped that he simply accepted a car ride with someone who decided not to check him for a microchip.  (Vets do not routinely scan new patients for microchips.  Asked why not, one vet answered that it would appear distrustful of the pet’s guardian.)  But I realized he more likely was dead.  I would look up at that portrait of him and feel my loss every time.  He was my most special cat, the only one I ever sought out to buy from a breeder.

Monday morning I got the news that someone had scanned a stray cat in Nashua (about 20 miles South) and come up with Freckles’ contact information.  None of my phone numbers was still good, but the fax number went to the firm I practiced law with–the firm that had often been visited by Freckles because I liked to take him everywhere with me.  By one p.m. the responsible cat owner who searched for his true owner, she’s my hero, Belinda, met me in a parking lot and turned over to me a somewhat confused Freckles.  He seemed content being with her and not very interested in coming home with me.  But being Freckles, he accepted it.  He did, after all, enjoy car rides.  Here is a photo that Belinda shared with me, of Freckles napping in her daughter’s bed.

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I had to quarantine him away from my other cats until we were sure he wasn’t carrying any contagious disease or parasites, but the vet declared him amazingly healthy for a senior cat on his own.  Actually, amazingly healthy for a cat of any age.  Even his teeth were good.  The cat door has not been openable from the outside ever since he disappeared six years ago, but he is getting enough stimulation from the four younger cats occupying my house.  He does seem to remember the house, not to mention the cat door, and he is warming up to me.  He seems to want to be in the same room with me.  The other four cats are showing him great respect, as is his due.  He has only to look at them, not even a stare, just a look, to claim his lofty position as No. 1.  His favorite perch, when we (my follower cat Milo and I) are in the TV room/art gallery is the top of a leather chair like the one that I sit in, so that we are on the same level.

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Note the painting hanging in the background.

Two more photos:  one to compare to his kitten photo and the other to mark his privileged occupation of my otherwise cat-free computer sanctuary.  He has found the printer-scanner-copier combo to be a good place to hang out.

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I’m not sure what all this has to do with my painting.  It’s just a tale I needed to tell.  A love note for my special cat.

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;  and at the law offices of Mesmer and Deleault at 41 Brook St in Manchester.

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

Portsmouth Paintings

Since my last post, I feel as though I have been feverishly busy, but most of the painting time has been studio time.  Not  many of my plein air landscapes have come inside without need for improvements.  I am enjoying the process of making improvements–well, I hope what I’m doing improves the paintings,–but worry about why the need.  Am I getting pickier?  Am I getting slower?  What’s up with all this tinkering, etc.?

I hope I’m getting smarter, that I see more ways to improve when I get the painting home and can assess its defects dispassionately, without being influenced by reality.  I suspect I am also getting a lot slower in painting, as in everything else I do.  I can’t even get dressed in the morning without straying off the rails into some distracting musing.  Maybe that’s late onset of attention deficit disorder, but when I am painting, I am able to keep my focus on the painting and the scene.

So, last weekend–oops, two weekends ago!–I participated in the annual Portsmouth paintout put on by the NH Art Association, which is a Portsmouth outfit.  I believe that makes the fourth year of my participation and I haven’t missed a year yet.  I couldn’t complete the event on Sunday because of my commitment to Sundays in the Gloucester garden of David Curtis, but I managed to produce three 12×16 paintings, which is pretty large for plein air.

The first painting took me from about ten in the morning until about two in the afternoon.  The heat was enervating.  I had a good concept for my painting:  under the drawbridge with the drawbridge raised to allow a tugboat to pass through.  My brain wasn’t working in top gear, however, so it took me a while to realize that if I took a photo of the raised drawbridge, I wouldn’t have to wait for it to be raised to see how that changed the elements.  The product as “finished” in those four hours (a pretty long time for me to need for a plein air painting) had good bones, but it was rough–very rough.  The sky paint did not even cover the gray ground.

The second painting was from the same vantage point but a different perspective–closer to being under that drawbridge, which is called Memorial Bridge, with a view of the other two bridges from Portsmouth to Maine:  another drawbridge and the elevated highway bridge even farther back.   Someone called me on the phone about one o’clock and commented that I did not sound well.  Interesting.  Did I mention it was very hot that day?  I told her I was fine.  As fine as someone who has become dehydrated without being aware of that fact.  It was a hint, and eventually I took it– I got the elements of those three bridges down in an hour and then quit.  As you would expect, with all those excuses, I had to do a lot of improving when I got the two back in my hands.  Here are the finished versions:

Comin' Through (Memorial Bridge, Portsmouth)

Comin’ Through

3 Bridges, Portsmouth

Three Bridges, Portsmouth NH

For my third Portsmouth painting, conditions were better.  I didn’t even try to get started before noon.  I spent only two hours.  I was in the shade.  There was a breeze.  For those reasons, perhaps, I have not felt the need to tinker with the painting produced at the Elks Club of Portsmouth:

At the Elks Club

At the Elks Club in Portsmouth

Just a few days ago, I went back to Cape Cod to pick up the painting that had been shown at the Addison Gallery’s show “Found my Park”, and to paint something new somewhere on the Cape.  The old painting looked better than I remembered it, so there’s another example of getting ‘er done outside, but it was 11×14, much smaller than the Portsmouth ones.  Here is what I’m talking about:

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View from Salt Pond Coast Guard Station

To find another good spot for painting, we watched for likely signs–to beaches or parks.  We chose to explore Nickerson State Park in Brewster.  An amazing and huge tract of wildness.  No ocean, no dunes anywhere, but glimpses of water.  I finally went online with my iPhone and found a map that got us to Cliff Pond and Fisherman’s Landing.  There was nobody there when I set up my easel, but soon we were inundated with children and dogs.  I had a dog with me myself.  It wasn’t a problem, but I did not feel inspired.  After I got home and had a chance to sleep on it, I knew what I had to do.  I had to add stronger dapples of shade and sunlight throughout, including on the figures of my companions.

Sun-Dappled Afternoon

Sun-Dappled Afternoon

I have to confess that my dappling in this painting may have been influenced by my recent trip to the Peabody Essex Museum’s exhibit of Childe Hassam’s Isle of Shoals paintings.

I want to thank all of my followers who took me up on the offer of free paintings.  I am grateful because can you imagine the humiliation if I couldn’t even give away my paintings?  Ouch!  But it’s just a drop in the bucket, so if you have been hesitating because of some reluctance to take advantage, the offer is still good.  I am limiting to paintings 11×14 or smaller, simply for ease in mailing.  The priority mailing cost is $12.00.  Stake your claim!

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;  and at the law offices of Mesmer and Deleault at 41 Brook St in Manchester.

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