Acadia: 14 paintings in 6 days

On October 6, I drove to Acadia National Park in Maine to take part in “Fall Color Week” (third annual) promoted by the publisher of Plein Air Magazine, Eric Rhoades.   I’d been feeling a little down, not wanting to get outside and paint, so when the invitation came, I decided it would be a Good Thing to Do.  Expensive,  but worth it in terms of the facilities.  At least I could drive my own car to get there.  Most of the 60 participants flew into Portland or Bangor airports from the West Coast, the South, the Midwest.  To those participants, the fall color foliage was particularly alluring.  For all of us, the idea of Acadia conjured up visions of Cadillac Mountain, Bar Harbor, Thunder Hole, and other visions of Mt. Desert Island memorialized by master artists.

Alas, I discovered when I got there that the section of Acadia National Park where we were was entirely separate from the section to be found on Mt. Desert Island.  We were on Schoodic Peninsula, housed in the Schoodic Research and Educational Institute.  Bar Harbor was an hour’s drive away, taking the short cut–more of which later.  Besides, Mt. Desert Island was overrun with tourists.  Big cruise ships were making calls there.  Busloads of visitors.   Schoodic was a much more desirable place to be, with easy access to fishing villages and other vistas, but  before reaching that conclusion, I would have to try to paint on Mt. Desert.

We arrived at the beginning of Columbus Day Weekends, the traditional peak of foliage season, planning to explore Schoodic for a few days waiting for the tourists to leave Mt. Desert.  The Peninsula offers a lot of rock, both along the road and extending out to sea.  Fir trees dominated all tree lines so there was less “foliage” there than back home.  My first stop was Blueberry Hill.  (Blueberry bushes do provide a large proportion of the red foliage  up there.)  At Blueberry Hill, I chose to look outward, at a fir-covered island while the sun struggled to break through a very clouded over sky.

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I spent a long time on this, my first painting of the week.  So often my first painting of a series turns out to be the best, and I gave it my all, dabbing away at the clouds and rippling waves until I was sure I had captured their variety within what was a relatively sedate range of colors.  As it now turns out, Blueberry Hill was indeed one of my more successful efforts.

After lunch (a bag lunch that I made up from stuff laid out for us at the dining hall), I went looking for some color along the Schoodic Loop Road.  I found a roadside brimming over with reds and yellows and greens, near the bike trail called Bunker Harbor.  Feeling inspired to make a masterpiece, I got out one of the bigger panels, 12×16.

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To top off the day, I set up on Schoodic Point, where roseate rocks spread way out into the sea.  Artists were sprinkled all over the landscape.  I had to set up at the edge of the road because my balance is not good enough to get me and my gear across such uneven surfaces.  I did not give this second effort as much attention.  Sketchy.  But I think you get the idea.

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I was proud that I had produced three paintings on the first day.  Better than most (only in terms of numbers–there were some very accomplished painters there).

The next day, Sunday, was extremely foggy.  Eric had suggested that we drive over to a fishing village called Corea.  About 45 minutes to drive there:  20 minutes to get off the Peninsula, turn right (North), then East again down another long arm into the ocean.  I got there early and could not find other artists, or any parking spots.  We had been warned about respecting “Private Property” and “No Trespassing” signs.  I drove around and around until finally I made a desperate move:  I turned into a dirt road that led to the harbor, despite the sign that said “Ivy’s Way Private Way”.  There were two wooden walkways into the water (docks?), surrounded by boats and fishing gear (lobster cages, in particular)–and a small cottage.  I knocked on the door with some trepidation.  The door was answered by a couple from Missouri (!) who have rented the cottage every summer for the past ten years.  The owner lives in a building across the main road, and quite the building that was.  Modern, large, industrial, Bauhaus in flavor.  The owners rent the water access to the fishermen and  “wouldn’t mind at all” if I set up to paint there.  The fog had lifted slightly and I was able to spot a white house way up on a hill that was solid rock, with a lobster boat moored below.  I had my composition.  The fog continued to lift until it was all gone by the time I was finished painting.  I left the background trees in the fog.

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I believe the next “assignment” was to be a lighthouse that was near Corea.  I went there and waited for some other artists to show up, but none did, and the wind was too fierce for me get out of my car.  I took a nap.  Then I returned to Schoodic, Frazer Point, and painted this little quickie.

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That night, after dinner, someone got one of the artists to volunteer to model for portrait.   I watched for a while, then realized my gear was just outside in the car and I should have brought it in to paint the portrait.  After all, I’d rather paint a figure than rocks any day.  I would be ready the next day.

Monday, Day Three, the day we hoped to paint on Mt. Desert Island.  I got set, started out early.  The shortcut required finding Mud Creek Road, which I had no trouble with.  But Mud Creek Road ended in a “T” intersection and, not knowing which way was correct, I chose left.  (No reception for cell phone meant my GPS was no help at all.)  I ended up on Marlboro Beach Road in or near a town named Lemoine, staring at a very special view of Mt. Desert Island.  I pulled over to get a good look, and was also able to get GPS there.   I was not on the correct route to Mt. Desert, so I backtracked and got to Thunder Hole, where we were supposed to gather, about 11 o’clock.  Almost the whole morning was spent driving around.

At Thunder Hole, I doped out a spot where I could set up to paint without getting out on the rocks, but to what end?  I could not see the Hole from there.  In fact, the Hole was pretty darned dry in not-high-tide.  So I went to the next recommended spot, Otter Point.  Parked and got my gear out of the car with a determination that, after all this driving around, I was going to produce a painting here no matter what.  I stopped on the side of the road looking down.  I painted until the rain started.  Something to do with hurricane Nate?

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I spent the rest of the afternoon exploring the area by car, and drove back to Schoodic in time for dinner.  After dinner, our portrait model was Rick Wilson, a painter that Eric had recruited to keep us entertained by playing guitar and singing.  As a model, he was not trying to keep still for the portrait painters, but I didn’t mind.

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Tuesday, Day Four, another Mt. Desert attempt.  We were supposed to all be on top of Mt. Cadillac by three in order to be photographed en masse.  Meanwhile, I wanted to paint that scene I discovered on Marlboro Beach Road.  I invited others to join me, but there was a spot on Mud Creek Road that was pretty attractive, and nobody got past that.  (Nobody seemed anxious to go all the way to Mt. Desert.)  Anyway, I easily re-found Marlboro Beach Road and got permission from homeowner to set up and paint his view.  It went quickly, despite the fact that I used 12×16 panel.

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After Marlboro Beach, I headed for Jordan Pond on Mt. Desert.  Again, it was the suggested site for painting prior to Mt. Cadillac.  The Pond was downhill from the parking lot.  It took a lot of patience to snag a parking spot.  I had to lurk.  (There was no way I was leaving without getting a crack at the restroom!)

It was going to be hard to get my gear back up that hill but I was determined to paint there.  To reduce my burden, I left my chair in the car, hoping to find a suitable rock to sit on.  (My back does not allow me to stand long enough to complete a painting.)  Down by Pond’s edge, I found the perfect sitting rock, but I had to face up the hill, not at the pond.  Well, it was only water and rocks and trees anyway.  Uphill I had trees and shadows.  Another artist from the group, with his wife, showed up, but not painting.  Still it was nice to see a familiar face.  When I went to leave, I got halfway up the hill before a kind couple took pity on me and dragged my cart up to the top.

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At that point, I was looking forward to the top of Mt. Cadillac, but I never got there.  The Park Rangers had barricaded it because the parking lot at the top was full, and the line waiting to get into the parking lot had filled the road.  No room for anyone else.  Wow.  I headed back to Schoodic, glad I had at least got one painting done on the Island.

After dinner, I painted another portrait–this one of Vicki.  Vicki kept very still.

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Wednesday, Day Five:  Beautiful day.  Two of us shared a pullout in the Schoodic Loop Road–my companion looked out upon the water and a tiny fir-covered island; I was taken by the combination of rocks and shadows over the rocks and road.  This is probably my favorite painting from the week, 12×16, unretouched.  My experience was marred by voracious flies that bit right through my clothes.  (I added two more layers the next day.)

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After lunch, I went exploring the little fishing towns between us and Corea:  Prospect Harbor had a big regional lobster pound, very industrial-looking building.  I drove in and around and behind it where I had a view of a funny little lighthouse.  Remembering how awful the conditions were for that other lighthouse, I figured why not, it’s a lighthouse.  Why not is not a good reason.  It was my worst painting, even after I retouched it.  I’ll show you Before and After.

Before

Before

After

After

Thursday morning, six a.m.:  Sunrise scheduled to be 6:45 so I figured I had plenty of time to get out for a sunrise painting.  There was a good spot right at the entrance to our Institute buildings.  Eric was already there, said the best light had already gone by.  I didn’t believe him.  About six more artists were also clustered around easels.  Eric was using a little easel light.  I had not thought to bring one with me.  Didn’t matter, by the time I was set up. there was enough light to see sort of what I was doing.  Couldn’t really see it until I got indoors.

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Thursday was our sixth and last painting day.  I decided I needed more boats.  On the Loop Road, there was a restaurant called Bunkers Wharf, and it looked down on Bunkers Harbor.  There were already a few artists painting there and I had heard talk of some painting inside on one of those really bad days.  I joined the group outside–there were four of us.  Of course I had my usual bag lunch, but the others were ordering food and I could never resist steamed mussels.  Lunch was a lovely experience.  I went inside to order the mussels, but the young man  brought them out to me when they were ready, and later came back for the empties.  He told us of his plan to buy some real estate and put up condos to lease out to Acadia visitors.

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After Bunkers Wharf, I wandered around Winter Harbor but never felt the urge to set up and paint.  After dinner that night, we set all of our paintings out for everyone to view.   It was too much to absorb.  Incredible works of art all around me.  I felt exhausted.  And I feel exhausted all over again now.  Hope you enjoy!

Catching up–Bartlett Style

I have been not performing, blog-wise, up to the standards I set for myself this summer.  If I had met those standards, two topics would have been set before you already and the third would have been pulled together for today.  The problem, as often happens, is just when I gather my thoughts and my photo illustrations, I notice something in one of the paintings that I must, MUST fix.  Then after the fix, a new photo must be taken.  It has been a summer of revisions and regrets.

One topic was to have been:  best and worst plein air (marine) painting of the summer, covering  why I thought one was good and the other not–but wondering how I could have rescued the one that was awful.  A second topic was to have been the rest of the works resulting from the Stuart Ober course–you’ve seen the portrait of Sparkle, but I did a bunch of other stuff that never would have got started but for the impetus of taking a course called “Explorations in Oil Painting.”   One of them could have been a topic in itself, as I worked on a 12 by 36 of “Impressions of Manhattan from the Whitney Museum”, a complex skyline with streetscapes that can always be improved or added to.  I’m still adding.

This week, I hoped to be posting all the Figure in the Garden paintings from David Curtis’ garden, 2016 edition.  Those paintings are finished, but the last one still needs to be photographed.  I scaled up to 16×20, making the photographing more challenging.

And now, as topics pile up, I just got back from a workshop up North with Michael Chesley Johnson, for which blog I made promises.  I feel a little like Mickey Mouse must have felt in the “Sorcerer’s Apprentice”.  (Disney movie “Fantasia”)

I am going to take the advice I always gave my tax delinquent clients:  do current returns first, then the past-due ones.  Therefore, today without further ado, without messing about, I am posting photos of the three plein air paintings from the last two days, showing what I can accomplish in the approximately two hours available for each, before stopped by lunch and/or rain.  Raw footage, as it were.

Excuse me while I go snap photos of each one with my iPhone.

.  .  .  .

Eight students gathered at the Bartlett Inn in Bartlett NH to learn plein air painting from Michael Chesley Johnson, of Campobello and Sedona, for perhaps the shortest workshop ever–two days.  We were lucky with the weather, in that the rain held off Tuesday afternoon and Wednesday morning until I was able to get one painting each time close to completion.  I produced a third painting during the Wednesday rain. . .storm is too strong a word.  Rain Event. More of that later.

Tuesday morning MCJ opened with a demo of how to paint rocks.  We piled into a gazebo near the Jackson Historical Museum– it was shaded, just the right size for 8 students and a teacher, next to a rock-filled Wildcat River, and near our next stop: a preview of the museum’s upcoming show.  Then lunch at a local deli, then back to the Wildcat, a river responsible for the phenomenon known as Jackson Falls.  We got some sun, but mostly clouds, so we got experience with painting en plein air on overcast days.  How to find a “hook” when there are no lights and shadows to create drama?  Well, falling water is always interesting.  Unfortunately, New Hampshire has been suffering a record drought, so instead of impressive, thundering cataracts of water, we got meandering trickles.

(MCJ photographed me working at the Falls and posted it to Facebook, if you are interested.  I was wearing my usual distinctive hat, so everyone who knows me recognized me.  I could probably link to it, but I don’t have time to learn how to do that!  Got to get this post done.)

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Jackson Falls, v. 5 or 6

Day Two, or Wednesday as most people know it, we headed down into the Valley to experience the location of Albert Bierstadt’s  “Moat Mountain, Intervale, New Hampshire”.  That is why I have titled this painting Bierstadt Meadow.  Most of us chose to paint the ledges that are to the right of my scene, but I’ve a bee in my bonnet all summer about the pinky-purplish grass that shows up at this time of summer.  It is most prevalent along highways.  It was not present in this meadow, but there were other plants sporting colors in the same family, so I thought I would try to fake it.

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Bierstadt Meadow with Bluebird House

We were treated to very little sunlight, but the weather forecast did not include rain.  Nevertheless, Sharon (Sharon Allen, who organized this workshop and spends half her life painting around Mt. Washington Valley) “felt” it would rain and urged us to move to a sheltered location–under a bridge in Conway from which we could paint a red covered bridge from below and to the side.  When we got there, most of the river (Swift and Saco merge near here) was, well, absent.  We were going to get more practice painting rocks.  However, a puddle under the bridge reflected the red covered bridge, and I chose to make that the subject of my painting.

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Under the Bridge, of Another Bridge

All of my paintings were painted on the carton paper sold by Judson’s plein air supplier.  The paper slows me down a little because it absorbs paint, making it harder for me to cover the surface.  But once my surface is juicy with paint, I can go to town.  The geometric shape on the right is the stanchion [is that correct term?] of the overhead bridge.  When the rain blew in [is Sharon  a witch?], it disturbed the puddle and handicapped me.  Oh, well.  Had to fake it.

Since I probably will not get to the topic, best and worst marine painting, and I cannot NOT show you the best, I will now show the best.  Two “tall ships” came to the Portsmouth area.  August 12 was the day I chose to visit them.  One docked in Portsmouth for people to tour.  The other docked in New Castle for people to ride.  I would have bought a ticket to ride if my timing were better, but as it was, I had to wait for the “Harvey Gamache” to return to port before I could grab a photo of it.  Meanwhile, I painted its expected path from New Castle’s Grand Island Park.  In my studio at home, I added the sailing ship using my photo as reference.

Harvey Gamache passing into New Castle

The Harvey Gamache Passing into New Castle

I have some happy news:  two of my pet paintings will be part of a nationally juried exhibit in a museum!  The museum is the Annmarie Sculpture Garden and Arts Center in a place called Solomons, Maryland.  The Sculpture Garden is affiliated with the Smithsonian!  The two honored paintings are “Sparkle”, which had been sold but the owners have agreed to lend the painting for this exhibit; and “Partners in Crime”–the two tuxedo cats on a cat tree.  IMG_1568

Partners in Crime

Partners in Crime

 

 

 

 

 

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 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!

A Spate of Painting Leads to Opportunities for Rescues

The clouds have lifted, the sun is shining, and I find myself back in the groove of painting. It’s a good feeling.  I’ve ordered in a huge supply of panels.  If I fill them all with paintings, my problem of finding homes for them is going to be exacerbated.  This problem is similar to the problem of cat and dog overpopulation.  On the one hand, puppies and kittens are so lovable.  On the other hand, dogs and cats take up space and require some minimal maintenance.  Curbing the reproduction of the animals via spay-neuter programs is the solution to that problem.  Will I have to curb my production of artworks?

I am painting for the joy of it, not expecting to make a living at it.  Once the painting is finished, my happiness does not depend on keeping it nearby.  In fact, I’m happiest when I find a loving forever home for my artworks.  If  you would like to give a home to one of my puppies, let me know.  I ask only that you pay for the shipping.  Of course, exceptions will have to be made for certain special projects, ones that I want to give to family members or submit to an exhibit or prize competition.

My latest crop (litter?) includes a bunch of plein air paintings and the still unfinished Manhattan Project, which I had hinted at in the last blog.  (Surely that term is not copyrighted after all these years.)  I’ll delay discussion of the Manhattan Project until it has been completed.  I just hope the final result justifies the suspense that I am building.  Suspense is building, right?

Continuing the practicing for a weekend paint out in Portsmouth, I painted this street scene, which truly was empty of people and cars most of the time:

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Bottom of Court Street, Portsmouth

I added the telephone wires after the painting had dried.  I discovered that if the brush left a glob of excess paint, I could pick it up with the brush and my medium (Gamsol), thereby thinning the line and keeping it wispy.  I won’t be able to do that during the paintout since the underlying paint will not be dry enough, so I’d better pick a different scene for the paintout.   This fact is disappointing because my other choice involves lots of little lines–bridges.  Maybe I can come up with another fine-line technique because once I get a subject into my head (inspiration strikes), nothing else will be good.

Last week, Sharon Allen, Betty Brown and I responded to a call for artists to paint the Cape Cod National Seashore in celebration of the 100-year anniversary of the National Park System.  We found a charming B and B in Eastham to put us up two nights.  Of our three days on the Cape, only two halves were dedicated to serious painting.  The rest of the time we were reconnoitering.  And eating.  Good place to visit if you like seafood.  Duh!  Just before we headed up North homeward bound, we stopped to paint at a town landing which didn’t qualify for the national park paintout.  So I have a total of three paintings to show for the trip.  My “best” one got left there at the Addison Gallery for the big reception.  It was also the first one I painted:

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View from Salt Pond Coast Guard Station

My eye had been drawn to the drama of the light green sea grass (that’s what I am called the grass that grows in the dunes down there, and around the salt water pools) against the deep blue sea.  Add the interesting group of buildings perched (precariously, I am told) atop a high dune, and you’ve got solid inspiration.  I set up in a traffic island in front of the Coast Guard Station.  To my right and way down a hill (guess that’s obvious) there’s a beach full of people and umbrellas.  That was a second choice for a subject, despite the view  being severely limited.  Sharon nevertheless took it on.  Betty, meanwhile, climbed the fire escape and perched herself with her easel up there to create a semi-abstract rendering of marshes and pools.

My second serious painting portrays another Coast Guard Station, this one at Race Point.  The perspective bothered me so I tried to correct for it, but I’m still dubious.  I had intended the front of the building and all lines parallel to it to be level with the horizon, which is what appeared to be the case. But now I think I should have superimposed an imaginary vanishing point off to the left–that is what my eye was reaching for, demanding, despite the evidence of my level.

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Race Point Coast Guard Station

Here is a reference photo that I took of the same building, showing the way I really wanted to paint it.  I’ll do it too, but on a larger canvas:

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Doesn’t that evoke Hopper?  Edward Hopper lived on the Cape and painted many of the buildings.  I haven’t been able to find that he painted this building, but I’ll bet he did.  How could he resist?  Yes, I moved the flagpole.  Had to be done.

The little quickie I did on our way out of town owes its life entirely to the lavender color of the turned-over boat I spied.

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Orleans town landing: Readiness

The other thing that is going on here is the attempt to convey the peekaboo effect of the foreground tree, hanging over the two boats.  It’s not easy.  You can’t really paint each individual leaf, but you can’t mass them together too solidly either.  I’m not sure I got the balance correct here.  If only the sun had been coming in another direction, I could have had shadows of leaves on the boat.  That would have been cool!

The other thing I’ve got going on is Figure in the Landscape, like last year.  Every Sunday in David Curtis’ Gloucester garden.  I will wait until I have four accumulated and do a separate blog about them.  The trouble with painting a lot is it leads to writing a lot in the blog.  I coulda been paintin’ instead!

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.

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!

 

 

Color Me Encouraged

Last week I was bellyaching about how dissatisfied I was with my paintings, and Fate apparently paid attention, showering me with encouragement this week.  Just a little, no “tens” on the ten-point encouragement scale but maybe, considering all, a solid seven.

First, I partook in the 4th Annual Essex (Massachusetts) Paint Out on Saturday.  It was my first foray into this event but I had heard that the auction was widely supported.  We painted Saturday and handed in the wet paintings before leaving Essex to go home.  On Sunday we returned (I was already in Gloucester for my Figure in the Landscape workshop with David Curtis) for a Silent Auction (4-6) and a Live Auction (6 -7).  About 18 works had been preselected for the Live Auction–works by popular local artists.  About 100 paintings were entered in the silent auction.

Here’s how a silent auction works:  the artist declares a value for the painting (in my case, $325 for each 9×12 wet painting, unframed); the authorities (actually, some computer, they alleged) use that value to peg the minimum/opening bid (in my case, $125).  Each painting is accompanied by a bidding sheet.  The top line states the opening bid.  A bidder writes his/her name on that line.  Thereafter, other bidders could come along and bid higher by writing their names on the next line, and stating the higher bid next to their names.  The first bidder must lurk in the area, watching for such an eventuality so as to strike back with another bid if he/she really wants the painting.  So that is the Sunday scene.

Now back to Saturday.  Flo Parlangeli and I sought out a scene with marshland (for her) and buildings (for me).  Based on a tip I got at registration, we drove to the end of the appropriately named Water Street.  From there, we had a view upriver (the Essex River) to the Town of Essex (buildings, including a steeple, de rigeur for a New England town), and a view downriver toward the bay, eventually toward the ocean.  Downriver was Flo’s choice.

View of the Town

View of the Town

Essex River--Highway to the Sea

Essex River–Highway to the Sea

The edges of the Essex River are very marshy.  Its pace looks relaxed, and its path meanders and splits off to form separate pools here and there.  When the tide is low, mud flats are exposed.  The Town is celebrated for its clams, dug out of those mud flats.

We were welcomed by two brothers who had inherited the house at the end of Water Street, and encouraged to go anywhere on their land, either side of the road, despite the No Trespassing signs.  They also regaled us with inside stories about our location and the town.  The bottom of Water Street had once been called Callahan Point, Callahan being their great grandmother’s maiden name, or Clay Point for the industry of brick making that once thrived there.  Associated buildings are long gone and the land is now all under conservation never to be despoiled again.

Soon we were joined by another artist–from New Hampshire!  Total coincidence.  She was a pastelist and left after lunch, never to be seen again.  We looked for her painting at the auction but could not find it.  I suspect she was a victim of Dissatisfaction.  Speaking of lunch . . . Wow!  I volunteered to go collect the lunches for all three of us since I had finished my first painting.  That turned out to be quite a project.  They served clam chowder (of course), tossed salad, sandwiches of every description, homemade chips, cookies, water and condiments.  I had to choose what kind of sandwiches and figure out how to transport three lidless clam chowders cups to Water Street.

Flo was working all day on one larger piece looking downriver, and didn’t finish until about 4 o’clock.  With that extra time to think, it occurred to me that between us we had two extra tickets to the auction event, so we offered those to our hosts.  One of them said he  would bid on my upriver painting, and indeed he did, and he won it for the opening bid.  My other, downriver, painting also sold, to a local art photographer whose stunning sunset-over-the-marshes view was in the live auction.  (Unless he got outbid–I have not received any word yet of the final bids.)  Unfortunately, Flo’s painting did not find a bidder.  Indeed, a quick glance around the barn of the items up for silent auction suggested that less than half were finding bidders–not exactly what had been anticipated based on prior years’ performances.  I suspect the large format of Flo’s painting might have put off savvy buyers, who are all too familiar with the cost of framing.

We stuck around for the live auction, at first because David Curtis had one in it and I thought I might get a David Curtis painting for an unrealistically low price–what a coup that would be!  However, I fell in love with a different painting and had to go my limit ($300) to get it.

Wildflowers in August by Carole Loiacono

Wildflowers in August by Carole Loiacono

This artist spends half the year in Florida, apparently.  I guess she was not at the auction.  Neither was David Curtis, and by the time his piece came up for bidding, I had “shot my wad”.  Sorry, David.

Riding on the crest of my Essex success, yesterday I embarked with Sharon Allen and Jim O’Donnell on trip up to Wolfboro for the annual paintout sponsored by the Governor Wentworth Arts Council.  This paintout also ends with a sale of some sort, sometimes an auction, other times, a straight sale.  One time, I sold in the silent auction format–$100 for an unframed 8×10, which I had to split with the host organization.  My buyer that year had guarded my painting so that no one else could get near the bidding sheet to compete with her.  I didn’t really mind, because it’s not about the money for me.  I was flattered.

This year we were allowed to set a price, and to be consistent, I put the price of $325 on my 9×12 painting.  Yes, only the one painting.  We had to turn them in at 2 o’clock and I had picked a difficult subject that took almost all of the 4 hours available to me.  There were no buyers for $325 paintings.  $60 paintings, yeah.  I would have attributed my failure to find a buyer to  buyers choosing against me, but for the fact that I WON People’s Choice!!!  I now know how Sally Field felt accepting the Academy Award for Norma Rae.  I had not even voted for my own painting, assuming it wouldn’t even be in the running.  Instead I voted for Jim’s excellent painting of the water vista.  And Jim came in second!  I am so glad I voted for him.  Fate rewarded me.

Proud Winners

Proud Winners

My painting was of a statue in Cote Park called “Sharing”.  1934839_106878732190_121261_n It features two bronze figures and a park bench, which visitors use like a bench for photo opportunities.  If only they’d stay long enough for me to incorporate them into the painting.   The title of the sculpture must refer the “sharing” of the experience of eating ice cream cones by grandfather and boy.   It should be noted that there is a place to buy ice cream down at the docks.  After handing in my painting, I availed myself of a cup of something chocolatey.  A rather large cup.  Turns out, I deserved it!

A Moment to Treasure

A Moment to Treasure

Aline Lotter is currently exhibiting:

At the Library Arts Center in Newport, NH;  at the Bartlett Inn in Bartlett;  at the Bernerhof Inn in Glen; at the Red Jacket Inn in North Conway;  at the Firefly American Bistro on 22 Concord Street, Manchester; 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, 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.

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!

July in New England–outdoors in the heat of the sun

I feel a little as if I have been running around without purpose, just answering one call after another to paint outdoors.  But now, looking over my output, I see  there must have been other things absorbing my  time and attention.  Nevertheless, you are not likely to want to see the entire three weeks’ of artworks, and I am in the happy position of picking my favorites to talk about.  I have painted in Manchester, Goffstown, Newport, Portsmouth, Rye, and Newington, all of New Hampshire, plus Gloucester, Massachusetts.  Here are the best of the lot:

Uncanoonuc Garden

Uncanoonuc Garden

This location is on the side of a hill called Uncanoonuc.  Actually, there are two hills by that name, next to each other, and even Wikipedia avers that they are “mountains” with impressive views of Manchester to the east, the Wapack range to the west, and on a good day, Boston to the south. From Manchester, the Uncanoonucs resemble the mounds of a woman’s breasts, and Uncanoonuc is a native American word meaning just that.  One Uncanoonuc boasts a road upwards.  Along the way is a retail plant nursery that has installed groupings of shrubs and flowers to show its customers how lovely is a good landscaping plan.  The blue spruce caught my eye, in part because much earlier in my painting career, I had recreated another Little Blue Spruce.

Little Blue Spruce

Little Blue Spruce–Putney VT 2008

Well, I don’t think I can say my blue spruce technique has improved at all since 2008!  The earlier blue spruce was growing at the studio of the “Putney Painters”, where I was taking a workshop with Albert Handell.  Albert liked my spruce but thought I had crowded it too much with the other trees.  I usually take the advice of masters to heart, but maybe 20 percent of the time, I stay true to my own original intent.  I see his point, but I also admire the pluckiness of the baby spruce staking its own territorial claim under less than ideal circumstances.  I’ll bet today it is crowding that building in the background.

In Newport, in the course of delivering and picking up a painting for the regional show at the Library Arts Center, I got myself invited to participate in the Garden Tour, as a painter.  They had about ten different gardens open for tour, each with different attributes.  I told them I cared only about the flowers, not interested in mountain vistas or water features, so they sent me to the site of an abandoned gravel pit.  The homeowners have been reclaiming the land patch by patch.  As each load of topsoil was dumped into a pile, stuff got planted . I chose to paint the pile devoted to the memory of a beloved dog who had passed the year before.

A Boy and His Dog . . .

A Boy and His Dog . . .

The message set forth on the rustic sign reads “A boy and his dog are joined at the hip and heart forever.”  So instead of flowers, I found myself focusing on hardscape elements of rocks and sculpture, so easily is the artist’s intention waylaid.  When I had finished A Boy, I made another stab at featuring flowers.  I went in search of a floral closeup.

Flower Box

Flower Box

I knew I was doomed to fail at the task of matching the glowing fuchsia reds of the petunias, but set out to try anyway.  The next day, after the paint had set up a little, I was able to add cleaner, brighter color here and there so as to convey the sense of color, even if the exact color remained elusive.  The  straw strands in the basket came mostly out of my head, or rather, out of my memory of my favorite painting by Jamie Wyeth–Hay Bale.

haybalejwyeth352-300x214

Isn’t that the most lovingly portrayed hay bale ever?  A living, almost breathing, hay bale.  Don’t you feel like you could stab it with a pitchfork right on your computer screen?  Just imagine how it looks in person, as I saw it on the wall of the Boston Museum of Fine Arts last year.

I have one more Exeter painting to show–it was painted “live” just before a lawn party at the Exeter Inn.  I painted another during the lawn party, but I don’t love it so much.

Exeter Inn

Exeter Inn

I was pleased with the flowers in this painting, and I hoped my handling of flowers in the landscape might be improving.

Portsmouth and its environs saw a lot of me the past few weeks.  And I saw just the tiniest fraction of paintable spots, so rich is Portsmouth in architecture and marine attractions.  I accumulated three favorites:

Inlet

Inlet, Boat ramp

Entering Prescott Park

Entering Prescott Park

The Zinnias are perhaps too carefully depicted.  Reality is my downfall.

Wentworth by the Sea

Wentworth by the Sea

The biggest challenge here was the shoreline–how to show the transparency of the water’s edge lapping on the rocky beach.

Again this year, David Curtis is giving his workshops on painting the figure in the landscape, in his garden.  Our model was dressed as a bride:

Bridal Portrait

Bridal Portrait

I’m growing weary of green!  Note that the landscape portion of this figure in the landscape is not much more than fuzzy suggestions of landscape.  I felt it had to be thus.

But not all work was done outdoors.  Our Monday life group met twice:

Natalie 2

Natalie 2

Sheridan

Sheridan

All in all, the lesson I have taken away from these three weeks of fairly intense painting is renewed awareness that I still suffer from a deficiency that has plagued me all along.  I’m not “loose” (messy) enough.  Is it that I’m so fast a painter that I end up wasting my time on “cleaning” and straightening and perfecting?  For example, the windows behind the window box were never “finished” because, thank the lord, I realized I could not improve on their rough state.  But examples of overpainting are too abundant.  When will I ever learn?

Aline Lotter is currently exhibiting:

with the East Colony  artists for the rest of July at 163 (167) Water Street, Exeter, NH;  at the Bartlett Inn in Bartlett;  at the Bernerhof Inn in Glen; at the Red Jacket Inn in North Conway;  at the Firefly American Bistro on 22 Concord Street, Manchester (reception August 3); and at the law offices of Mesmer and Deleault at 41 Brook St in Manchester.  Also, on July 23, from 5 to 8 p.m., the doors to all art galleries in Manchester are open and served by a old-time trolley.  I am participating as a member of the Manchester Artists Association in a one-day exhibit at the Rines Center, on the Trolley route.  It’s all free!  See the Open Doors Trolley Night website for more information and a list of venues that have a show going on that night.

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.

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!

Urban New Hampshire

I have saved up a number of challenge paintings for this post.  The challenges came from the subject matter.  Although landscapes in general are less demanding than other genres because nature is so variable in its beauty, the same cannot be said when architecture, vehicles or people become prominent in the scene.  Perhaps I have been setting myself up for a higher failure rate.  But I can’t learn if I stick to easy subjects.  I’m not sure which of these are failures and which are the successful embodiment of a new direction in my artistry.  I’m feeling my way, so to speak, across the landscape of my creativity.

Newport

First, a large (20×16) rendition from a photograph taken when I realized I had forgotten my chair.  I simply cannot stand to paint for two hours at an easel.  Old bones, or something like that.  So I photographed my inspiration and tried not to become a servant of the photo.  This is a vacant mill (it is for sale) in the Town of Newport, New Hampshire.

The Ruger Mill, Newport, NH

The Ruger Mill, Newport, NH

The lead in to this view of these sunken buildings intrigued me the most:  that curvy downward driveway must have been a nightmare when shifts changed.  The river that powered the mill flows out of sight in the back of the buildings.  I believe that same river is the waterway that led to my next Newport painting.  A one-lane covered bridge next to a rolling park is a kind of hybrid between straight landscape and architecture, but no one can deny a bridge is a construct subject to the laws of perspective.  It was threatening rain the day I was in Newport for this painting, and after I scouted the various aspects of the bridge, it did rain, furiously.  I waited.  After all, I was several hours away from home and there wasn’t any reason to hurry home.  After about 20 minutes I got lucky.  The rain stopped and the sun even came out intermittently.  For an hour.  Suddenly–that means without warning–it started raining hard again so I packed up quickly and headed home.

Newport Covered Bridge

Newport Covered Bridge

I studied the quick block-in long and hard.  I knew the perspective was probably wrong.  The bridge was level, but looks as if it is slanted upward in my painting.  The reflection reinforces that notion.  I consulted the photograph taken when I was scouting, and it shows a bridge going straight and level.  But I really, really wanted to trust what I blocked in at the site.  After all, I was seated while painting, and I had been standing to take photographs.  If I changed the bridge and the reflections, I would have all those stripey shapes that I hate so much.  Ergo, slant stays.  For the good of the art.

Exeter

Again this year I participated in the paint-out fundraiser for the American Independence Museum in Exeter.  I had scouted locations the day before, when I was delivering paintings to our pop-up gallery on Water Street, and spied a good riverfront vantage point on private property that had a sign warning “No Trespassing Fishing . . . [other forbidden activities]”.  There was nevertheless a guy fishing .  I asked him about the sign, whether it was vigorously enforced.  “What sign?” he asked.   He had never noticed, but it didn’t matter:  he lived in the condo complex and gave me permission to paint there the next day.  First, I painted the buildings across the river, but I included a vigorous evergreen that partially blocked my view, instead of moving to the right where the shrub would not block my view.  That meant painting a close up of a potted plant, in addition to the architecture in the background, not to mention the river itself and a boat tied up to a landing.  I felt it might be possible because I had chosen a large panel, 16×12, for the project.  But the evergreen defeated me.

Exeter Riverfront

Exeter Riverfront

Almost from the same spot, I found a charming bridge that I wanted to paint.  The evergreen was in the way again.  For this one, I did stand up, because I really had to in order to see over the shrubbery.  But I knew I only had a hour to paint because the wet paintings were due back at the Museum for the wet paint sale, so I figured, for an hour I can stand.  Note the different treatment I tried out for the same shrub in the second painting.

String Bridge, Exeter

String Bridge, Exeter

Neither painting found a buyer, but in my haste to set up, I mispriced them as if they had been framed.  Just as well, because when I got them home, I improved on the shrubbery.  Not so much but I was happier.

Last week, I was back in Exeter to see if the pop-up needed any help.  It didn’t, so I went up Water Street and painted the scene looking down and back to where our gallery is.  Shrubbery was replaced by automobiles.  They moved in and out of the parking spots in front of me.  What can you do?  I never got a good enough handle on what existed behind the cars, so I had to include the cars.  Maybe I can develop that into a specialty!

Water Street, Exeter

Water Street, Exeter

Portsmouth

Market Square in Portsmouth was the site of an organized paintout last Wednesday.  Only four painters that I was aware of, which including me and Flo, actually participated.  Flo and I settled on the shady corner kitty-corner from the dominant building, North Church, whence I included North Church and the street running to the right and down.  Blocking my view on the right was a tree and Flo, who painted the picturesque row of storefronts behind me.  It would not have been realistic to paint Market Square without vehicles or people.  So I grabbed a few impressions–one trolley and one van for vehicular traffic, and two couples for the human sort.  Traffic is so annoying; it moves.  The parked cars in Exeter were a piece of cake by comparison.

Market Square in Portsmouth

Market Square in Portsmouth

New Boston

Last is the painting I did at the Farmers’ Market last Saturday in New Boston.  A call had gone out on the NH Plein Air list inviting plein air artists, and I answered the call.  I was the only one to do so.  I’m not sure, in retrospect, whether the idea was for the artist to be selling artwork or to be creating artwork.  I had assumed creating, because in years past I had done the same at the Bedford Farmers Market.  So I created.

Under Dogwood, New Boston

Under Dogwood, New Boston

For a little while, I had a group of musicians in the gazebo, but alas, they had to leave after an hour, and without warning!  Well, challenges, right?  Another difficulty was the Dogwood tree.  Since it was in the foreground, like the nasty evergreen shrub in Exeter, I felt I had to do more than suggest a generic tree with white blossoms.  It should convey the idea of a dogwood tree.  Conveying the idea of musicians was much easier!  Go figure!  (Pun not intended.)

So there’s an assortment.  Is anything happening here in terms of this Painter’s Progress?

Aline Lotter is currently exhibiting:

with the East Colony  artists for the rest of June and all of July at 163 (167) Water Street, Exeter, NH; at the Bedford Public Library; at the Bartlett Inn in Bartlett;  at the Bernerhof Inn in Glen; at the Red Jacket Inn in North Conway;  at the NH Institute of Art, 77 Amherst St., Manchester; 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, 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.

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!