Exhibiting

Posted by Aline on February 11, 2017

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.

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!

Final and Complete Report of Marco Island Painting Binge

Posted by Aline on February 19, 2014

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

This first painting is still one of my own favorites.

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 – 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 – 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

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–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–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–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.

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

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

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 – 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

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 (6×12)

Before cropping, this is the painting:

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.

Reporting from Marco Island

Posted by Aline on February 10, 2014

I’ve been here since Tuesday, getting out of the snowpath in the nick of time. Lucky, lucky me! We’ve been painting every day, 4or 5 hours each day. I have 8 nearly finished paintings, 9 by 12.

For our first outing we joined a group of outdoor painters who get together Wednesdays, and this Wednesday we were invited into and around the “Gingerbread Cottage”, a private residence owned by a couple of gardeners and dog lovers. They had won a prize for their landscaping, and they locked the dogs up for the day. About 20 artists were tucked away in nooks and crannies on the property, for it was not a large lot. Tiny pathways separated beds of stuff that I got to know as house plants. We got there late, having been delayed by a visit to the farmers market. Most of the nooks and crannies were already either occupied or being painted. I settled in a shady spot where I was assured I was not blocking anybody’s view of her subject. Then I surveyed the scene to divine a subject of my own. I thought, well ok, for the first time my first painting will not be the best one. So what! But maybe it will be the best.

This view is from almost the same spot. Some of the artists who had arrived before us were leaving or relocating, so I got a spot with a view of our hosts’ dock and next door neighbors. Maybe “next door” isn’t quite the correct term if you need a boat to go borrow a cup of sugar. You’ll notice I haven’t put in a sky yet. Among other improvements I plan are sun-lighting the plant and post at right, about half, at an angle pointing in and down; darkening the shadow behind the boat; and inserting a bit of white reflection in the water below the boat.

Mary likes to paint beaches, so the next day we spent in the sand. We had not only fog but heavy cloud cover. I was drawn to the shiny white line of sunlight breaking through the clouds way in the distance. Of course that condition could not last long, so I painted very fast. I had finished by the time the sun reached me. A few repairs are needed–those brown dots in the sky are unwelcome volunteers. The black streak can stay–it makes a good swooping bird of prey. I used up some old clotted paint to mix my gray sand, and made a virtue of its texture.

The arrival of hot sunlight chased me under a tiki hut, where I found this sea grape plant arranging itself in a pleasing composition.

Yes, this is painting no. 1, enlarged. Working on the iPad is awkward, and things don’t always go where I intended them to go. In fact, this reporting is exhausting me. I’m going to try to upload the next 4 all at once, omitting comments.

Marco Island Paintings Part Two

Posted by Aline on March 7, 2013

Each painting has a story, but 14 stories is a bit much to ask my followers to, um, follow, so I am just adding a few comments underneath, same as I did for Mary’s paintings in my prior post. Super-short stories, in effect. Unlike the spread of Mary’s paintings, I organized mine in chronological order to the best of my memory.

We were huddled behind some shrubbery seeking shelter from stiff winds on a relatively chilly day (for the tropics), so the subject was not selected by inspiration but forced by necessity. Usually my first painting turns out to be the best, or at least one of the best, in a series of outdoor paintings. As I was working on this one, I thought it was going to be an exception to that “rule”, but now I am liking it better. . .probably because I am far enough away from the scene to be able to forget reality.

Island Woman. It becomes a scene of intense frolicness (frolicity?) on the weekends, but we wouldn’t have been able to park anywhere close then, much less find a place to set up easels.

Lanai Sunset. Strictly speaking, not plein air, but inspired by sight, memory and assisted by iPad photo. Perhaps still a work in progress.

Waterfront Home. The boats are up in the air on hoists, and I worried about how it would read. But not important now, I think. The water looks liquid, don’t you agree?

Frangepani Tree. Economy of effort:–beautiful bark, few leaves, and blossoms rationed to bloom at the ends of branches for short time. This one had buds but no blooms yet.

Farmers Market Musician. We were chased out of the grounds proper and forced to set up behind the “band”. Lucky for us!

Octagonal house. Occasionally, we can’t resist recording the unusual.

MarGood Park View from the Gazebo. Our 2d visit to this spot. Behind me was the skiff that I painted two days before. It was while I was working on this scene that I got skiff-owner’s request to purchase my painting of his boat and his dog. I posted that news here. Pelican landed just in time to get included in the painting.

Dinner! These are six of the 2 dozen blue crabs that I received in partial payment for the skiff-dog painting. Don’t they look delicious? (I think they were blue before being steamed.)

Fishing under the Jolley Bridge. Had highest hopes for this one, but now worry it has missed the mark. There is a slight curve in the bridge, so don’t get on my case about perspective!

Waterside Dining. That’s how they characterize it. I left out the blue dolphin that Mary chose to feature. Dolphins all over the city, like moose sculptures in NH. Cows in Chicago. Gnus in New London. (look it up)

Two Tiny Visitors to Residents Beach. What? You don’t see them? I thought they were warblers, but the bird book suggests they are more likely wrens. Also met my first Red Knots and Brewer’s Blackbirds in the course of making this painting. (Beach is to the right, past the vegetation barrier.)

Plein Air Still Life? I’m always saying: I don’t “do” still lifes. This not really “still” because the light keeps moving!

Morning of my Travel Day: San Marco R.C. Church. Foreground, what foreground? What can you do with a parking lot? Had to pack up and catch plane in afternoon, so I forgot to get photo of Mary’s version, which was excellent.

I hope that adds up to fourteen. I wish I had a better photo of number 15, which I had to leave in Florida with its happy new owner. I took a photo of Stephen holding his painting, but it turned out horrible. Here instead is a photo of my collector, which I lifted from the Naples Daily News, online edition.

Crabby Stephen

He may look like he only knows about collecting (and cooking) crabs, but he is also experienced in matting and framing, so the painting is in the best of hands. I asked him to send photo of painting when and as framed.

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 her law offices at 41 Brook St in Manchester; and at her studio by appointment.

Through March 29, you can also view (and purchase–of course!) my 6×6’s at the Artstream Gallery in Rochester, NH.

If you happen to be near Tampa, Florida on March 7, 8, and 9, you could (and should) catch Nude Nite, happening with music and other entertainment at 3606 E. 4th Ave., in Tampa. Hours are 6 pm to midnight. (Nude NITE, after all)

Marco Island Paintings Part One: M.C. Reining

Posted by Aline on February 24, 2013

I returned from my two-week painting vacation on Marco Island with 14 paintings, and the next two days was back to painting and drawing nudes. Too much for one blogpost anyway, so I am deferring for a few days the pleasure of showing my art in favor of first displaying the artworks created by my Marco Island hostess, Mary Crawford Reining.

On most occasions, we were looking in the roughly same direction to paint if not the same scene, neighboring scenes. You will be able to identify a few exceptions (most prominently the boat featured in my previous posting). You might find it interesting to compare our different treatments of the same subjects. But it would be like comparing apples to oranges, which I understand is not a good thing to do. Mary is a watercolorist (she claims to switch from medium to medium, but I have only seen her painting with watercolors in the five years that I have been plein air painting with her) and her style is looser than mine. I have noticed that the more experienced an artist is, the more successfully they attain looseness. Mary is very experienced, having studied art and having taught art, and, most importantly, having never in all those years ceased to think and behave like an artist.