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.

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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!

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!

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!

Final and Complete Report of Marco Island Painting Binge

After a snow-impeded itinerary, I finally returned to the winter wonderland that is New Hampshire.  Another snow storm yesterday has locked me at home.  The city didn’t bother to plow my little stub of a street until it was sure it could build a barricade at the bottom of my driveway worthy of good ol’ New England complaining.  Still, I don’t mind . . . didn’t want to go anywhere today anyway, not when I have the lovely task of reliving my adventures in Marco Island, through this retelling.

All thirteen of my Marco 2014 paintings are painted on 9 x 12 carton paper, acquired from Judson’s Guerrilla Painter art supplies.  Two paintings are candidates for cropping, as you will see.  The first 8 were posted last week, using photos taken with my phone or my iPad.  Now that I have new versions taken with my Nikon Digital SLR, I will include them again.  A few have endured improvements since last week.

I would love to hear from my followers which painting(s) are their favorites.

Marco 2014 No. 1

Marco 2014 No. 1

This first painting is still one of my own favorites.

Marco 2014 No. 2

Marco 2014 No. 2

I added the sky and make other changes as planned.  I can see room for more improvement–punchier lights on the foreground objects.

Marco 2014 No. 3

Marco 2014 No. 3 – The Beach

The quickest, simplest is the favorite of many people.  I touched up the bird spots.  Several had suggested making the spots into kites (the toy, not the bird), but I was concerned about bringing in that level of detail.

Marco 2014 No. 4

Marco 2014 No. 4 – Sea Grapes

Although I wanted to improve on the definition between light and shadow, I lacked the confidence to do anything about it.

Marco 2014 No. 5

Marco 2014 No. 5

The only improvement I made to No. 5 is the color of the shadows on the building.  Less green, more blue.

Marco 2014 No. 6

Marco 2014 No. 6–Calusa Boat Yard

No changes to this one.  But when I posted it last week, I didn’t include any narrative, and it deserves a narrative.  On my right, over the railing, is a roof covering a shelf-like area where successful fishermen (women don’t seem to be into that kind of thing) can clean their fish.  There’s a water spigot and a tube into which the waste is shoved, which apparently drops the waste somewhere in the water underneath, where the waiting pelicans cannot access it.  There is a prominently posted sign forbidding the feeding of the pelicans.  But they hover nevertheless.    Because mistakes are made.  Sometimes a particularly motivated fish escapes the grasp of the fisherman and dives in the waiting maw of a pelican.

I was in that spot because of the shadow afforded by the roof.  So I was kind of in the way, but not so much as would require me to move.  One of the fisherman wanted this painting, but he was willing to pay only $100 for it.  I felt it was worth at least $200.  I hope he’s sorry now!

Marco 2014 No. 7

Marco 2014 No. 7–Pond with girl and goose

I defined the figure of the little girl to show her posture better.  She was a real little girl, but she never sat for me on the bank like that.  The Canadian goose was one of a pair cruising around with a pair of Muscovy ducks.  The walkway pavement really was a purply black.

Marco 2014 No. 8

Marco 2014 No. 8–dog walkers’ park

I reworked this painting a lot.  The bridge alone got about four repaintings.  A figure went in, came out; the original dog came out, a new one came in.  I was looking for something expressive, trying to channel Van Gogh.  Here was the previous version.

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Marco 2014 No. 9

Marco 2014 No. 9

Mary lives on a golf course, of course.  If you don’t live on either water or a golf course on Marco, you  are doing something wrong.  We reconnoitered the course but found nothing to inspire us to paint, but on our way back to her house, we both fell in love with this huge palm, catching light here and there, so that’s where I set up.  It was close to the back door to her lanai (screened in terrace containing swimming pool–standard equipment in Florida).  In the lanai, watching me closely, was her black cat, Tara.  So I popped her in the painting.  Jungle cat with green eyes.

Marco 2014 No. 10

Marco 2014 No. 10

Yet another park–the same where we had painted our picnic in the rain last year.  Both Mary and I decided to paint the reflections in the lake.  She draws in pencil, then paints in watercolor.  (I had intended to take pictures of her paintings too, and share with you.  But forgot until this minute.  The fog of age.)  Anyway, she takes a lot longer to complete a painting, what with all that drawing first.  I was finished with mine, grousing about the difficulties (I have a list of them with respect to reflections), and was just diddling around with it when a huge flock of ducks swooped down and started swimming furiously around in circles.  Whassup?  I thought.  A few of them climbed the bank over on the right, out of my frame, investigated, and returned to swimming in circles.  Then arrived a man and woman laden with buckets.  They dumped the contents of the buckets under the tree lately investigated by the scouter ducks, and a parade ensued.  This was what the ducks were waiting for!  Since I wasn’t doing anything important anyway, I stopped fussing over the ever-changing tree, grass and house reflections and changed up my pond to accommodate a representative grouping of circling ducks.  Are the ducks too black?  That’s how they appeared to me in that low light, silhouetted against the bright water.

Marco 2014 No. 11

Marco 2014 No. 11

Flo joined us, down from Cape Coral, and the three of us caught up with that same group of outdoor painters who go out each Wednesday to paint together at specific locations.  This week’s location, the Esplanade, includes fountains, retail establishments, boats (moored to the right in this view), and lots of people.  Rich people.  We spread out.  I chose to paint the bar because I thought it was time that I tried something really difficult.  I had my eye on the bank of liquor bottles in the background.  I spent all day on this one painting, and much of that time was spent repainting the elements, trying to get them to work together.  Perhaps I overdid it.  Does it look stilted?

Marco 2014 No. 12

Marco 2014 No. 12 – Vanda orchid

Although our weather was warm and sunny all the time I was there, one day was extremely windy.  The three of us decided the better part of valor was staying in the shelter of the lanai and painting Mary’s Vanda orchid.  I tried to mix up the color of the orchid from my various reds and blues, but it just wasn’t working–not even close–, so I borrowed some Magenta from Flo and voila!  That made me curious about magenta–why wouldn’t it mix from blue and red?  Turns out it is special; because blue and red don’t mix past purple on the spectrum of color–they don’t meet on the color spectrum.  A synthetic red called quinacridone makes possible the purply red known as magenta or fuchsia.  I am adding Magenta back to my palette and bowing respectfully to all quinacridones.

Marco 2014 No. 12 detail of orchid

Marco 2014 No. 12 detail of orchid

Flo’s version of the orchid was more of a closeup, and just like a kid, when I saw her treatment, I decided I wanted that too, so here is my cropped version.  Is it better than the one with roots in the foreground and swimming pool and palm tree in the background?  By the way, I need to thank Deirdre Riley, who paints flowers awesomely; she advises what I call the big blob attack method of painting flowers, whereby you paint in the general shape of the entire arrangement, then pick out lights and darks to form the shapes of individual flowers.  That approach stood me in good stead with this extraordinary plant with a single stem smothered with individual flowers.

Last, but certainly not least, here is the cut-down version that I prefer:

Marco 2014 No. 13 v.2 (6x12)

Marco 2014 No. 13 v.2 (6×12)

Before cropping, this is the painting:

Marco 2014 No. 13 (9x12)

Marco 2014 No. 13 (9×12)

I haven’t actually cut it up yet, so if you think I am wrong to do so, please tell me now.  Not later!

The location is the Rose Marina, where I have painted before, but this time we explored our way around the water to a residential neighborhood that has this view of the action.  Notice there is a major bow sticking its nose in at the right.  While I was painting, this ship, the Marco Island Princess, got underway with its passengers for a sunset cruise in the Gulf . . . analogous to a Mount Washington dinner cruise on Lake Winnepesaukee, but much smaller.  The foreground is a grassy knoll that drops down to the water out of your view (and mine), which complicates your understanding of what is happening.  That’s why I prefer the cropped version.  Yes, there are a couple of pelicans in the painting.

Aline Lotter is currently exhibiting:

at the Hatfield Gallery and the East Colony Fine Art Gallery in Manchester (both are in Langer Place, 55 S. Commercial St., Manchester, NH);  at the Gallery at 100 Market Street in Portsmouth;  at the Bartlett Inn in Bartlett; at the Red Jacket Inn in North Conway;  at the law offices of Mesmer and Deleault at 41 Brook St in Manchester; at the Manchester office of Congresswoman Carol Shea Porter;   and at her studio by appointment (email: alotter@mac.com).

You may also view paintings with prices and order prints at my Fine Art America page.  If the painting you are interested in is not there, or if you prefer to bypass that experience, you may contact me using this feedback form.

She’s Back (More Margaret)

Margaret in a Twist

Margaret in a Twist

June is the month of Margaret, but since we are not meeting on Fridays, we’ll have only the four Tuesday sessions to try to capture her elusive likeness.  (Prior agonies were explored in this blog.) This profile isn’t too bad, but what I was concentrating on was the body–the subtle swellings and shadows that reveal bones and muscle and fat.  Not much fat on Margaret, but that just makes what is there all the more fascinating.  As usual, I enjoyed playing with the colors, exaggerating the warmth that I was seeing in the shadow side.  I see a few things (e.g., the way the chair back comes forward) that I would fix if I thought I’d be showing this anyone, but that’s unlikely to happen.  (I mean in person, not online.)

Saturday, a welcome change of pace:  I took the opportunity to join the NH Plein Air artists in the second annual paint out at the Forbes House Museum in Milton, Massachusetts.  Last year we had lots of sales (commission to benefit the Forbes  House), so we had some hopes for a repeat.  But this year, no bustling crowds.  My theory–everyone had graduations to attend.  Never mind–the weather was outstanding and we were doing what we love to do.  For painting subjects, with the Museum’s encouragement, we left the grounds of the Museum to seek out local water scenes.  My driving companion, Flo Parlangeli, has a connection to water that sets her heart to pounding.  I’m  sorry I didn’t think to take a photo of her painting and her two paintings.  She was painting them both at the same time–one on her easel and one in her lap.  Pretty peculiar, but it was all because she was working in acrylic paint, which dries fast.  The fast drying quality was something Flo was using to her advantage.  She’d let one dry and work on the other, then pick up the first and paint over the previous layer, then repeat with the second one.

Milton Landing

Milton Landing

This was my first one, which I spent about three hours on.  I placed it in an Art Cocoon and to make sure it didn’t flop out, I taped the corners.  But I was careless, and turned it upside down, and the panel did flop out of its bed.  As a result, I lost some of my crisp dark edges at the bottoms of the boats.  I had thick, white paint in those areas that just flattened and spread out over the edges.  I like to paint thick, wet into wet, although there is a limit to how much paint you can pile without losing control of the situation.  I was too close to losing control here even before the accident with the Cocoon.  This also illustrates why Flo was using the fast-drying acrylics.

So Flo was not going anywhere and I was finished with the boats.  I could have taken her car and driven to  another location.  Instead, I set up in a new spot nearby, in the lee of the boat ramp, where I was visited by a family of ducks.   Such as the joys of plein air painting, offsetting the distress caused by wind gusts that try to make off with  umbrella and anything attached to it (like your easel).

Covelet at Milton Landing

Covelet at Milton Landing

I thank you all for your feedback on last week’s project, the lettering for my Live Free poster.  I am still mulling over all the suggestions.   In the meantime, I have covered up “. . . and”.  Some objected to the ellipsis, but it was part of the original challenge–just in reverse order.  I decided to conform to the challenge more literally–when the paint dries, I will paint in letters for “and . . .”  When I complete the project, I will post the final version.  And if I have nothing more interesting to talk about, I will describe all the suggestions I received and reasons why I did or did not take them.

Aline Lotter is currently exhibiting:

at the Hatfield Gallery and the East Colony Fine Art Gallery in Manchester (Langer Place, 55 S. Commercial St., Manchester, NH); at the Bartlett Inn in Bartlett; at the Red Jacket Inn in North Conway;  at Stella Blu , an American Tapas restaurant in Nashua; at the law offices of Mesmer and Deleault at 41 Brook St in Manchester; at the Norris Cotton Cancer Center in Manchester (part of the Healing with Art program) and at her studio by appointment.  Two paintings are also hung somewhere in an office of Congresswoman Carol Shea Porter, probably the Manchester one.  Currently, the only location for viewing the nudes is at her studio.

The Week of “Super Storm”

Haven’t  you heard enough about Sandy already?  New Hampshire is one of the suffering states, but I got off pretty easy.  Looks like I’m going to have to pay for a new roof without help from the insurance company.  Being unscathed myself, I insisted on  holding the Tuesday life group.  It was, after all, a pretty nice day, weather-wise, a little rainy but hardly any wind to speak of.  But most of the other artists were dealing with one storm-related problem or another and couldn’t get here for the group.  So it was just the model, another unscathed artist, and me.

We set up in the window side of the studio and had our model lounge on the familiar old brown leather sofa.  We found ourselves looking down on him, which felt strange at first.  The model stand that we usually use puts the model at my eye level or above.  (I sit to paint.)  We also forewent any supplemental lighting inasmuch as the sun was streaming right in at our backs (yes, SUN).  No dramatic shadows to fall back on for creating interest.  But as it turned out, I didn’t need any drama from lighting.  I accepted a full-on frontal foreshortened pose with the model’s feet practically in my face.  (Of course that’s an exaggeration–I did say “practically”.)  I was super pleased with this development because it furnishes a response to a taunt from  one of my colleagues who, upon viewing last week’s blog, complained that I was not giving enough attention to feet.  Since he is also one of our models, I suspect it is HIS feet he want more attention paid to.  Nevertheless, feet are feet:

The Feet Have It

I have to point out that it is not often that you get to depict the wrinkles on the sole of a foot.  Having recently watched a documentary on Lucien Freud, I also felt as if I were channeling him every so slightly, as I tried to paint the effect of hairy legs.

On Friday, four of us  met with Peter Clive for a quasi-workshop session.  Peter had during the summer been attending our Tuesday group whenever he could, but currently his teaching schedule at the NH Institute of Art kept him there on Tuesdays.  So he offered to come instead on Fridays and critique work in progress, when corrections are possible.  In the course of the summer and now the fall, Peter has seen quite a few of my paintings.  He compliments me by saying something like “That’s a nice study,”  or even “That’s a great study.”  He said that about The Feet.  Noting his use of the word “study”, I had reconciled myself to the reality that a serious artist does not go around producing a finished painting in three hours (actually less when you consider setting up time and break times).  The fact that I consider these paintings as complete if not completely wonderful just shows how far I am from being a serious artist.  There is a whole level of professionalism up there that I can only imagine.

However, the work that I did Friday was, at the end of the three hours, pronouced a “painting” by Peter, “not just a good study”.  Yes, he actually said those words.

An Actual Painting

He liked the composition, which I admit, I  had worked out early in the process. before paying much attention to the figure.  So that was unusual.  Perhaps because of that, a certain painterly quality emerged for the whole painting.  But when I got home, I noticed that the right leg was too short, both as measured against her left leg and as measured against her torso.  So I “fixed” it.  I tried to duplicate  the original foot before I covered it up, but the new foot  (FEET again!) doesn’t look right.   I may have botched this painting by correcting one errant part of it that may not have mattered in the big scheme of things.    All is not lost, however–the same model is returning in two weeks for the same pose, and I will get another crack at that foot.  I am also hoping to paint a larger version from the same pose.

Totem, 11×14, $300

Lotus Studies 13×13 $265

High and Dry, 11×14, $300

A plug for the Soo Rye Art Gallery opening on November 10, reception from 5 to 8 p.m.  The address is 11 Sagamore Road, Rye, NH.  All the artworks being exhibited are priced no higher than $300.  I contributed “Totem”, “Lotus Studies”, and “High and Dry”, three of my all-time favorite paintings.  If you can’t get to the opening, the show  continues through the end of December, but I expect that a lot of the art will be sold at the opening.

Here is some history for these three paintings:

Totem was accepted in a regional show juried by Don Stone for the Rockport Art Association (Massachusetts, not Maine).  I painted Totem on the coast of Rhode Island, near Narragransett, with my artist friend, Mary Crawford Reining.  The totem, actually more accurately called a cairn, in the painting really did exist exactly as I painted it.  Other cairns had been built by person or persons unknown, but this one was the most adventurous.  It was more than a cairn–so I titled it Totem.  Earlier in that morning, I had painted another, more complex view of this rocky beach, and had an hour left over.  Only much later did I  realize until later what a successful painting Totem was.

Lotus Studies won Best in Show at a Manchester Artists Association exhibit, about a year ago when the MAA had a gallery of its own, but I created it at least a year before that for the Women’s Caucus for Art annual 6×6 show.    That had been my first year in the WCA, hence my first 6×6 show.  I had easy inspiration from photographs taken at the lotus pond in Wickford, Rhode Island, again visiting Mary.  The next year we tried plein air painting at the pond, but my output was worthless.

High and Dry has no  distinction to report, but it deserves an award, in my humble opinion, for oozing the most charm.  I have Mary Crawford Reining to thank again, for High and Dry:  this time I was a visiting her Marco Island home for perhaps the third year in a row.  None of my Florida paintings had amounted to much until this one, and I still consider it the Prize of my Florida collection.  Funny thing is, Mary had had her eye on this boat for a long time, wanting to paint it but never having got around to it.  So I swoop in and steal her subject as it were, and make it one of my best from Florida.

Only in the writing of these descriptions did I notice the huge debt I owe Mary Crawford Reining for guiding me to these three inspiring subjects.

Aline Lotter is currently exhibiting:

at the Hatfield Gallery in Manchester (Langer Place, 55 S. Commercial St., Manchester, NH); at the Bartlett Inn in Bartlett; at the Red Jacket Inn in North Conway;  at the Soo Rye Art Gallery in Rye NH; at the law offices at 41 Brook St in Manchester; and at her studio by appointment.   Also, if you want to plan ahead, on December 1-2, a two-day show  of unframed works at Adrienne’s studio on the 4th floor of  Langer Place, 55 S. Commercial St., Manchester, NH; the artwork will be priced no higher than $150!  At least six artists are participating in this sale.

Bonus Blog: Cruisin’ and Paintin’ the Essex River

Last Wednesday I took the day off from my job as  a lawyer in my own law firm (I can do that sort of thing when it’s my firm), and ventured South to the Commonwealth of Massachusetts with Sharon Allen, best known as the “plein air gal” responsible for holding our listserv together.  I had two tickets for the Essex River Cruise at one o’clock, and figured we could fit in one painting before and one after the cruise.  And so we did, even taking time out for a seashore dinner in the town of Essex, and even though poor Sharon was probably more wiped out than she wanted to tell me, inasmuch as she is recuperating from a terrifying regimen of chemotherapy and radiation treatments.  We focused so hard on our paintings that neither of use looked up to see what the other was up to.  We painted until the mosquitos came out in force and the light started to fail.  When I got home that night, I crashed.   I can’t  imagine how tired Sharon much have been.

Our morning painting was done at Cogswell’s Grant, an historic location including a farm.  We didn’t investigate the farm much, just found a shady spot with an attractive view and went to work.  My view is of the parking area.  That’s not as crazy as it sounds.

Parking for Cogswell’s Grant

The Essex River is not quite visible from here, but it is not far away, to the left of the parking area.  The cars, in case you are wondering, are behind the shrubbery on the right.

Our cruise was pleasant, and the weather was perfect for that kind of an outing.  Did you know that the 1995 movie “The Crucible” was filmed on an island in Essex, presumably because of its proximity to Salem, Massachusetts.  The movie makers recreated the Town of Salem as it had existed in 1692, and it sounded to me as if everything was removed after the movie was completed.

After getting our bites to eat (fried clams being the local specialty, that’s what I had), we set out to find a location that our cruise boat guide had called a magnet for artists–the Cox reservation.  Once there, we settled on a knoll with a wide view of the marshy unnavigable strands of the Essex River, looking toward the ocean but not quite seeing it.

View of Essex River marshes from the Cox Reservation

 AlineLotter is currently exhibiting:

at the Hatfield Gallery in Manchester; at the Bartlett Inn in Bartlett; at the Red Jacket Inn in North Conway; at the Gallery at Red Gate Farm in Plymouth; at the Yoga Balance Studio in Manchester; at the Pantano Gallery in the Shapiro Library at Southern NH University; at the law offices at 41 Brook St in Manchester; and at her studio by appointment.