Exhibiting

I haven’t written a blog for two months.  I have thought about it a lot, but what to write about?

(1) It’s winter, and dreary sunless winter most of the time.

(2) I can’t go to Florida for my usual reinvigoration because I’m working at tax returns in order to support my art habit.

(3) As I get older, it seems as if everything I do has to take longer.  Five times longer.  I have turned into a snail.

As a result of all those factors, forget about blogging. . . I haven’t even been painting!

Two months–that’s December and January, and little bit of February, assuming I finish this start and publish it today or tomorrow.  During those months I was busy with a different aspect of the profession of art making.  I was exhibiting.  So I’m hoping that’s a subject that might be amusing for artists and non artists alike, especially since so much of that was compressed in that stretch of time.

There are two kinds of exhibiting:  juried and not juried.  For the juried ones, the process starts with the application or “entry”.  The artist obtains decent photographs of the artwork and sends the images electronically to the juror(s).   For the unjuried ones, the artist usually need only identify each piece by title and size.  For all of them, the artist must consider the logistics of getting artwork to the place of exhibit, and then getting pieces back home at the end of the exhibit.

Entering multiple exhibits requires some basic record keeping.  You don’t want to put forward the same painting in different, overlapping exhibits.  You can’t deliver paintings to two locations at the same time.  You can’t deliver paintings when you are tied up at work either.  Friends and families are helpful in this regard.

I was particularly busy with the business of art these past few months.  Maybe because  I was not getting many rejections, a turn of events devoutly to be thankful for.  The effort required for me to keep all my exhibit balls in the air sapped my energy to actually keep painting–with the exceptions of commissions of pet portraits and the re-creation of lost paintings.  Yes, on two occasions I submitted photographs of paintings that I could not find!   But let’s go back to the beginning.

In November, I responded to a call for art from a Boston gallery, the Bromfield, for smallish pieces to go in their annual Winter Show.  I have never exhibited in Boston before, so I decided to go for it.  Of 4 images submitted, 2 were accepted.  Both were 8×10 rather abstracted landscapes involving water.  Lake’s Edge, which was on my wall and on my business card; and Water Layers, which I distinctly remember seeing when I was offering 8×10’s for $100 each in Littleton’s Art Festival.  But I could not find Water Layers in any of my home places for stacking older paintings.  Thank goodness I tried to find it right after getting the acceptance, because that barely gave me enough time to paint a copy of it from my photograph of it.  Oil dries slowly.

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Water Layers, 8×10, plein air, half hour painting at Baboosic Brook in Merrimack NH

The exhibit at the Bromfield Gallery required three trips to Boston:  one to deliver; one to attend the opening; and one to pick up at the end of the show.  I took a friend with me each time because venturing into SoWa (South of Washington) arts district alone  intimidated this boondocks artist.  Yvonne, another artist, accompanied me on the first and third trips.  It wasn’t the neighborhood that intimidated me; it was the traffic and fear of accidentally getting on the Mass. Turnpike, because that has happened to me before when trying to find something in the South End.  Parking in the neighborhood of the Gallery was also a challenge better handled with another person riding shotgun.   Alas, all of our good luck in finding the place and scoring a parking place got washed out by a blowout of one of my snow tires as I was pulling into a dubious corner space.  I had rammed my poor tire into a sewer grate.  AAA to the rescue.  Yvonne missed a delivery of a turkey to her front porch back in Manchester.  Come to think of it, I guess I owe her a turkey.  Just glad I was not alone!

The middle trip, the one to the opening, was pretty darn delightful.  My friend from grade school in Wilmington Delaware, Jackie, accompanied me.  There was a Christmas crafts fair going on, and all of the galleries at 450 Harrison Street too, as was usual on the First Friday of a month.  As soon as we got here, about five o’clock, Jackie and I allowed ourselves to be seduced by a restaurant called 500 in Italian.  Cinquecento.  As we were investigating the menu posted outside, passersby stopped to encourage us and even advised which meal to order.  Since we did not have a competing agenda, we went for it and ending up spending a boatload of money, mostly for a carafe of wine that cost $35.  Good time, great meal.  Girls night out.  Christmas shopping got done too–later.

Let this be enough to whet your appetite for more show war stories.  Now that I have a toe in the water (to mix metaphors), I shall be more likely to wade on in.

Places where you might catch a few of my paintings are:

  • NH Antiques Coop in Milford NH
  • Bartlett Inn in Bartlett NH
  • Red Jacket Resort in North Conway NH
  • Mesmer & Deleault Law Firm in Manchester NH
  • McGowan Gallery in Concord NH
  • Armory Cafe Gallery in Somerville, MA
  • Great Bay Community College in Portsmouth NH
  • Currier Art Museum in Manchester NH
  • Ellis River Art Gallery in Jackson 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!

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!

Abstracting the Landscape, Part 2

Having recently come off a weekend devoted to abstracting the landscape (see previous post), during which we painted from photograph, imagination, memory, music and purely abstract concepts, I resolved to apply my newly acquired abstracting skills to actual landscapes.  No, more correctly expressed:  I resolved to TRY to apply those abstracting skills to actual landscapes.  I knew it wasn’t going to be easy.  The spread of nature’s delights is so seductive that it is almost impossible to reduce a painting to a few good non abstract ideas.

The photo on the left is the result of my painting for two hours at Upper Ammonoosuk Falls, getting sucked into the whole nature thing, trying to capture all the rocks and water rivulets.  Fighting with myself.  Until finally I heard myself remarking to another artist, by the way of encouragement, that depicting falls, boulders, etc. was hard because of the clutter.  Clutter.  Such an important non abstract concept.  I went back to my painting and swept the water down over all my clutter.  And it worked.  So what if the scene never looked quite like that!

This morning I went over all four of my weekend paintings to see if any adjustments were needed.  In the photo on the right you can maybe detect minor but important touches:  the large rock slab in the virtual center was grayed back so as not to compete with the white of the falling water; the indeterminate brown area in bottom right was darkened and sharpened so as to clarify that it sits higher and in front of the falling water.  I also added a few strokes of white water to the cascade, just to gild the lily.  (By the way, while spell-checking Ammonoosuk I discovered YouTube videos of this spot, featuring reckless youths diving into the pools.  Here is one of them.)

But did I really abstract my landscape?  I did a better job than usual in reducing details.  It’s a start.  Maybe I’ll do better on the next one?

The next one turned out to be a panorama of intensely green fields dotted with intensely  yellow dandelions, backed by periwinkle mountains, covered by gray clouds threatening rain.  Because of the high chance of rain, we had driven south to Conway, where there is a bridge overpass that could provide us shelter from the rain while giving us a river’s edge view of an old-fashioned covered bridge.  But we each of us got sucked in by the dandelions, and set about creating rain shelters within which to paint.  I was riding with Sharon, so we had to find two ways to create painting studios out of one SUV.  She had the tailgate.  She also had the bright idea of creating a shelter for me out of my big yellow poncho and the two doors of her vehicle.  Here’s a photo of me getting set up  under my yellow tent.  20160513_152644

The tent cast such a strong yellow light over my painting (but not my palette), that I thought I was losing my mind when every time I scooped up a big blob of white paint to use in the sky, it turned yellow as soon as it hit the sky.  The  yellow tent had to have affected the rest of my painting as well, but it was only obvious in the sky.  As a result, I had not much of a good idea of how my painting was coming along.  This is not a good situation to be in, for a painter.  However, I was trying to be abstract, so maybe, I thought, hue doesn’t matter.  I blocked in the elements I wanted:  the intense green pasture, the intense yellow dandelions, the intense blue mountains.  Added a few tree and shrub features.  Still a result not so abstract, but the important thing was, I was thinking abstractly.

The one on the left is the painting as it was on Friday afternoon; the one on the right received some help today.  It needed more  yellow in the dandelions since it no longer had the benefit of a yellow poncho glowing all over it.  I cleaned up the sky a bit.  The photos do not do justice to the yellows and greens.  Oh, well.  Just keep in mind ALWAYS–the original looks so much better than the photo.

For my third painting, I was fortunate to be able to pick the group’s subject of the morning, and paintings always go better when one is inspired by the subject.  There is a railroad that goes from North Conway north through Crawford Notch to a station near the base of the Cog Railway that climbs Mt. Washington.  To get through the Notch, the train must travel on rails cut into the granite sides of the pass, and in this particular place, also bridge a gap in the rock face.  Especially with the morning light casting a shadow of the rails onto the granite, the tracks create a pattern both arresting and intriguing.

On the left side is what I got done on site.  We were painting from a parking lot surrounded by growing things in various stages of greening (the trees budded out almost before our eyes–not just overnight but over lunch), so my view of the area below the trestle was obscured.  I had installed rough representations of that obscuring growth, but I was bothered by the fact that you could not tell how far away the trestle was, nor how high it sat on the side of the granite face.  So I scrubbed the growing things and tried to transform them into rock face.  At home, today, I tried to improve on that aspect, as well as the rock formations above the trestle.  I’m not convinced that my changes improved the perspective.

For our last outing, we chose a spot not far from our home base (the Bartlett Inn).  As before, I resolved to think abstractly, just capture the shapes and colors that represented the site.  The color for this one was blue.  Intensely blue sky, intensely blue water reflecting the sky.  A nice snaky curve in the waterway, good aerial effects for the more distant mountains.  Simple elements that I should be able to use for an abstract landscape.  Alas, the landscape had other ideas.

As an abstracted landscape, a pretty miserable failure.  But more than passable as a normal plein air landscape, so I forgive myself.  The changes I made this morning to the earlier version on the left were mostly in the light greens and the sandy shores.  I don’t understand why the blue of the water looks so different now.  I think there might have been too much contrast in the first photo.  You can tell I have played around with the photo’s color cast, trying to match up with the original painting.  The truth of the water lies somewhere between the two versions.

My companions for the weekend were my roommate, Betty Brown; chauffeur, Sharon Allen; colleague from Snow Camp, Suzanne  Lewis of Rhode Island; young artist Stephen S from Hooksett; new members Leslie and Paul, from Massachusetts, and of course, the esteemed organizer of this semi-annual Getaway Weekend, Byron Carr of Contoocook.  Some if not all of these people have websites where their paintings of the same scenes may or may not be posted.

If you are a regular reader, you have noticed I am employing a different format for the paired photos.  WordPress has added new options, and I am learning  how to use them.  You can click on the above photos to enlarge them and to read their captions.  Do you like this format?

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.

Please save the date of Wednesday, June 22 for a reception at Labelle Winery in Bedford of the Petals 2 Paint show whereat floral designers create live flower arrangements inspired by a painting by participating East Colony artists.  This has been an annual event of the East Colony Fine Art artists for many years, but this 2016 show seems likely to be our last as a group.  Since the flowers don’t last more than a couple of days, you might as well plan to come for the reception.

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!