Oscar Night

Finishing my Oscar Night painting was a top priority when I got home after my Florida trip, along with tax returns and a report that I have to make annually to the Sierra Club regarding my NH chapter’s activities.  (I mention that nonart stuff as an excuse for not posting a blog last week, as if anyone noticed.)  The title of my Oscar painting is “Going for Gold”, and there is no longer any reason to conceal the title of the movie it represents–our Oscar Night party took place Saturday.  Nobody had much difficulty matching my painting up with “Chariots of Fire.”  Some other artists made it very hard to discern their movie, but not my favorites: Bruce Jones’ circus scene (“The Greatest Show on Earth”) and Rick Dickenson’s portrait of the ship that played the Bounty in “Mutiny on the Bounty”.  I wish I had thought to snap a picture of each of them, but I found them on our Facebook page:

Image 2 Image 3

You can figure out which is which, can’t you?  And that is a wonderful photo of Elaine Farmer laughing in front of the Bounty.  For more pictures of the event:  Facebook page for East Colony Fine Art, with photos of the shindig.    Here is a snapshot of our group, those of us who stuck it out to the end, anyway.  (I was not the only one feeling the pain.)

East Colony Artists on Oscar Night

You’d never know that we usually have a hard time finding anything to wear that is not spotted with paint, much less something fancy to wear on the Red Carpet.  We had an actual Red Carpet laid down as you approached the entrance to our Gallery, and other trappings, including champagne, of an extravagant star-studded celebration.  Popcorn too, for the unstar-studded populace.  A large, flat screen TV was playing snippets from our Oscar-winning movies, with music, but the crowds precluded us from taking it in–but crowds are a good thing.  The game of matching paintings with Oscar titles was taken very seriously by everyone, even though nobody was sure of what the prize was going to be.

And here, at long last, is the absolute final version of Going for Gold.


I took it in to hang last Monday, but then realized that I did not like the frame.  More precisely, I loved the frame by itself, which was a match to the one on “Margaret and her Nook” (see next photo), but not on this particular painting.  So I took it home again, and rooted around in my frame inventory to  come up with a modest, thin frame.  I wanted black, but could only find gold.  So I added the vertical black strips on each side to simulate a black border.  (I’m sure my faulty photography is responsible for the left border  above looking slanted.)  The new borders were barely dry when I hung the painting Friday afternoon.  Here is how it looked on my wall:

Image 1

See, straight borders on both sides.  Above the Oscar painting is one I call “Athabasca Falls” because, you guessed it, it is a painting of Athabasca Falls in Alberta, Canada, as night was falling.  Long story, that.  And on the right you see Margaret and her Nook.  On the pedestal is a giclee of Freckles, a cat I used to know–and love.  That’s my browse bin with other giclees on offer.  I’m not sure who the gentleman is–he was sitting with his wife on a big ottoman and I could not ask them to move.  Behind him is a short bio and photo of me hanging in a frame.  This is my “half space” for two months.  Some “half spaces” are a little larger than this one; usually I can hang about six paintings, but then, all three of these were larger than my usual.

I have been bad at getting the word out about these events.  In June I will be sharing the Featured Artist spot with Lawrence Donovan.  He’s the guy in the front, on the right, in the tuxedo.  We are trying to work out a theme that we can both live with.  And I have resolved to beat the drum very loudly to get everyone I know out for my opening reception.  So get ready, y’all!

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 and Bernerhof 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.

Pussycats and Ignudi

Fur. Final

Fur. Final  20×16

I finally “finished” (I had to stop fussing with it because deadline to submit was Friday) Fur.  Note the size of the painting–it is much bigger than life.  I’m pleased with its furriness, and proud of the gold heart locket which I dreamed up without any help from a reference photo.  Now, cross your fingers in the hope that the juror for this exhibit, Eric Aho, isn’t a dogs-only lover, and isn’t allergic to cats (but I am, so that’s not determinative).

I don’t often create something specific in response to a call for art, but in the case of Purr,  oops, I meant Furr,  I like to think the Call for Art got me thinking, which led to the inspiration to paint this particular picture.  The title and theme is “LOVE”, and the juror is an abstract landscape artist whom I greatly admire, which made me stop and consider the possibilities.  The idea of Love led, of course, immediately to the idea of Cats, and thence to the idea of the fur that makes cats so lovable.  To tie more unmistakably into the exhibit theme(as if that mattered!), I included the heart locket.  The claw showing at bottom left is my acknowledgement of the unpredictable and imperious nature of Cat, whose soft furriness conceals a weapon to punish whoever fails to give proper respect.  All that thought, but the result is likely to be yet another canvas stashed away in a portfolio.   That doesn’t matter.  What matters is, I painted.  I submitted.  I tried.

Our model for Tuesday Life Group showed up armed with thumbnail reproductions of Michelangelo’s paintings on the ceiling of the Sistine Chapel, from which selection we were to choose a pose.  The pose we chose was one of the  twelve naked, male figures lounging in the corners of each of the three major sections.  Before going any further, I’d better show you the drawing that resulted:

After Michelangelo Ignudi

After Michelangelo Ignudi

We were puzzled by the wreath—an item I associated more with Roman emperors than with Christian iconography.  On a whim,  I included it in my drawing, and was pleased with the effect–it added interest and weight to the top of the page, but I didn’t believe that had been Michelangelo’s purpose in so adorning these particular figures.  So I was off to Wikipedia to find the explanation.  Turns out the wreaths are acorn wreaths, and the figures wearing the wreaths are called “Ignudi”.  And that’s it.  No more knowledge to be had.  There is a suggestion that they could be angels; angels don’t necessarily come equipped with wings.  As for what the Ignudi were doing in the corners, I bet they are purely decorative.  Those corners would have looked “naked” without the Ignudi.  According to Wikipedia, the painting of the Ignudi demonstrates, more than any other figures on the ceiling, Michelangelo’s mastery of anatomy and foreshortening and his enormous powers of invention.  So there you are–he was showing off.  Not so different from the reason I included the wreath in my drawing.

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).