For a third Summer in a row, I participated in the David Curtis offer of a model in his garden garnished with the light touches of his guidance and that of my fellow artists. This year, we had July Sundays in addition to the August Sundays, plus an errant June Sunday to get us in the proper mindset. We got rained out only once, giving me a total of eight Sundays, eight figures, eight paintings. David’s home and garden is in Gloucester, an hour and a quarter drive from my home. This year I had company on the trip. I persuaded Cynthia Arieta to try it out; she prefers figurative painting too, and we met during Cameron Bennett’s Cornwall workshop a few summers ago. She’s now as hooked as I am.
For models, we started with David’s wife Judy, dressed up as a Guitar-playing Gypsy. This was the June Sunday. The Rhododendrons were no longer in bloom, but David suggested I add blooms to the painting anyway, so of course, I did.
Judy Curtis, wife of David Curtis, posing in their Gloucester garden
The order in which I painted the middle ones might not be accurate, but who cares about that, right? I believe the second one was the Basketful of Flowers, featuring artist Marianne as our model. For both of these first two paintings I used a 20×16 Raymar panel. In the previous two summers, I had painted smaller, on 12×16 panels. I had been easily able to complete those 12×16 paintings in the three hours allotted, so this year I thought I would challenge myself by going bigger. As a result, the background of Basketful of Flowers was unfinished when I left that Sunday. I worked on it at home and brought it back the next week for comments from the others.
Basketful of Flowers
Not particularly happy with my first two paintings, I concluded that 20×16 was perhaps too large for me to complete in three hours, and I switched back to 12×16 for number three. I call this one Diamond Bracelet. My titles are mostly hooks to remind me which painting I am talking about. I could not use the dress color to identify this painting because, as you will see, another blue-green dress is coming up.
David objected to the downsizing idea: As long as I was getting enough information on the larger canvas to finish at home, I should keep working in the 20×16 format. Subsequently I also took pains to prepare the panels that I used with a dark ground. Dark brown or rusty red were my usual choices for the ground color. Without the pressure to cover up white grounds, I could get closer to completion each Sunday. If I remember correctly, the ground for White Wicker Settee (number four) was close to black.
White Wicker Settee
Our model, another artist, for White Wicker furnished the settee herself and of course chose her costume. David declares repeatedly, “Artists make the best models”, and surely their choices of accessories is a big component in their success. He tried to recruit me to model next year, but I am reluctant to sacrifice my painting time.
Number five. The next model is the daughter of one of us artists. I had to fake the rhododendrons again. From Gloucester to Manchester, we have been suffering from an extreme drought, and Judy Curtis, who is in charge of the garden, stands on principle in refusing to water her garden–ever. So the rhododendron blooms would not be the only flowers we had to invent or exaggerate as the drought worsened over the summer. Tablecloth and vase is the one of the eight that I am least satisfied with.
Tablecloth and Vase
After the fact, I decided I should have filled the canvas with the figure instead of letting “figure in the landscape” govern my composition choices. For future sessions, I resolved to get closer to the model and even, gasp, allow body parts to get cut off by the edge of the panel if necessary. Meanwhile, David encouraged me to paint in the pattern on the tablecloth in order to create something interesting going on. One of the most common praises he heaps upon me is that I “tell a story”. I don’t really understand what he is talking about, but hope I can keep on doing it.
The next two paintings did not require me to cut off any limbs, but I did allow major accessories to get cut off. The first, George Martin, Painting (number six), started on a blackish ground. Notice how his easel slides out of frame on the right? The part I had the most trouble with was his eyeglasses. The lenses caught quite a glare from the bright sun and sky above, but when I painted them like I saw them, it was too startling and distracting.
George Martin, posing with his brush and easel
John Brown is a regular on Sundays and has posed in the past on Sundays when I could not be there. I had envied the results I had seen, so was looking forward to his portrayal of Farmer John (number seven). (Or should it be Gardener John? Doesn’t have the right ring.) I believe I can detect a red ground for this one. His wheelbarrow leaves the frame on the right. This painting was my favorite (and David’s favorite) up to that point, but there was one more week to go. Could I top Farmer John?
John Brown, posing as gardener or farmer
In this number eight, the last painting of the summer, the red adirondack chair makes its third appearance over the last two summers. The model is engaged to marry David and Judy’s son. Her names escapes me right now–so sorry. But she also modeled for us last summer in a navy blue dress holding a red parasol–my least favorite painting from any of the summers. So when she appeared again in navy blue, my heart sank. I prepared myself for a disaster of a painting. But surprise, Navy Blue with Red and White proved to be a winning combination! And to celebrate, I cut off her feet!
Navy Blue, Red and White
A major contribution to the success of this painting is the shadow pattern on the parasol. The sun and the tree gave me what I needed to tell that story, whereas the shadow pattern in Diamond Bracelet was, well, no pattern at all. I may have to go back and fix that.
Reminder for folks in the Chesapeake Bay area, if any there are: see two of my animal portraits at the Annmarie Sculpture Gardern and Art Center in Solomons, Maryland. Opening reception will be October 7, which I cannot attend. Alas. Maybe I will make it down there before the exhibit ends in late January. The exhibit’s theme is “Fur, Feathers, and Fins–Our Faithful Pets”. It will run from October 7 through January 29.
Other places where you can catch a few of my paintings are:
- NH Antiques Coop in Milford NH
- Ellis River Art Gallery in Jackson NH
- Bartlett Inn in Bartlett NH
- Red Jacket Resort in North Conway NH
- Bernerhof Inn in Glen NH
- Mesmer & Deleaut Law Firm in Manchester NH
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 firstname.lastname@example.org.
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