Catching up–Bartlett Style

Posted by Aline on September 8, 2016

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.)

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.

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.

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.

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.

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

Posted by Aline on May 18, 2016

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.

Upper Ammonoosuk Falls, wip

Upper Ammonoosuk Falls, final

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.

Dandelion Field, wip

Dandelion Field, final

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.

No. Conway RR trestle, wip

RR Trestle in Crawford Notch

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.

Saco River, wipe

Saco River, Bartlett, final

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.

Kickstart

Posted by Aline on May 9, 2016

I have continued to be Very Bad and Unrepentant. Finding oneself takes time. I had to write an artist’s bio last week, and instead of reciting biographical facts about myselves, I skipped merrily over past incarnations to state affirmatively–I’m all mixed up but happily so. Here is how I put it:

Pursuing a profession in the arts is inevitably a struggle because excellence is never actually attained. One is always reaching. Aline has found herself reaching in more than one direction at a time, which for a long time has confused her and perhaps worried her followers. But she now has decided to embrace the diversity of her subject matter and styles and celebrate each on its own terms. Her style ranges from loose and impressionistic to refined and deliberate. Meanwhile, she has served notice that she will be experimenting with abstracted landscapes as well.

And indeed I do today have something to show for that last bold statement. I attended a three-day workshop on Abstracting the Landscape with Barbara Danser, who teaches at the NH Institute of Art but last weekend (yes, including Mother’s Day) was teaching for the Currier Art School (an offshoot of the Currier Museum of Art, which I serve as a docent). Barbara started us off slow, with a photograph that we chose from many that she had ready. Then she had us paint the same scene without referring to the photo. I believe the purpose might have been to divorce us from the details and focus us on the big picture (so to speak). Also to this end, I believe, she imposed time limits as a way of weaning us away from detail in our paintings. In the beginning, the limit was fifteen minutes for each effort. Later on, she allowed us 30 minutes, perhaps even more when she saw us close to accomplishing something.

From Photo

From memory of photo

After that one use of a photo for inspiration, Barbara gave us “Prompts” as inspiration. The first one involved a female walking on a beach in the mist.

Beachwalker in the mist (6×6)

For the next one, she played some music. I wish I could remember what it was–classical for sure. Debussy?

From a musical prompt

I deployed my palette knife more than usual because that is a faster way to lay down lots of paint. Once I had the paint on the panel, I could move it around. I had been using paper to paint on, but with the one above, I used a panel that I had previously painted on. There is no trace of the original painting showing through.

After lunch on the first day (Friday), Barbara gave us another photo to work from: that of a wave. We had a choice of waves. I chose the more dramatic of the two:

Wave from photo

Naturally, we then had to paint the same wave from memory:

Wave from memory

After the wave, we got no more photos to use as references, but we examined the works of other abstract landscapists to get us in the mood. I also found myself mentally referring back to paintings I had painted years ago, which was a little spooky.

The sequence of the next seven paintings, and the specific prompts for each one, has gotten a little muddled in my mind. What I can remember about each one I have put in the caption, which I believe you will be able to read if you click on the image. All of them were either 8×10 or 9×12, but I have accepted WordPress’s suggestion for varying the apparent sizes.

Light drenching land and sky alike

another music prompt

Trees, spring green

no idea where this came from

New Mexican artist, minimalist

Trees, avoiding green.

Rain drops, musical notes. The Last One.

Aline Lotter is currently exhibiting:

And save the date of Wednesday, June 22 for a reception at Labelle Winery in Bedford of the Petals 2 Paint event whereat floral designers create live flower arrangements inspired by a painting. This is an annual event of the East Colony Fine Art artists and seems likely to be their last show as a group. The flowers don’t last more than a couple of days, so you might as well plan to come for the reception.

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

Posted by Aline on July 21, 2015

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

Uncanoonuc Garden

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

Little Blue Spruce–Putney VT 2008

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

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

A Boy and His Dog . . .

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

Flower Box

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

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

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

Exeter Inn

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

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

Inlet, Boat ramp

Entering Prescott Park

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

Wentworth by the Sea

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

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

Bridal Portrait

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

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

Natalie 2

Sheridan

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

Aline Lotter is currently exhibiting:

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

As usual, you may view paintings with prices and order prints, iPhone cases and the like at my Fine Art America page. If the painting you are interested in is not there, or if you prefer to bypass that experience, you may contact me by email to alotter@mac.com.

Snow Camp 2015

Posted by Aline on February 8, 2015

I’ve been “absent” for a few weeks, in part because of Stapleton Kearns’ “Snow Camp 2015”, which took place at the Bartlett Inn in Bartlett, NH. Stapleton started with Snow Camp in 2010 and repeated it annually thereafter at the Sunset Hill Inn in Sugar Hill, NH. But last year, Sunset Hill Inn closed its doors. Stape booked the workshop at the Bartlett Inn, which a few of us had been urging upon him from the beginning as it is home base for the Great semi-annual Artists Getaway Weekend. When I learned of the relocation, I jumped to sign up for it despite my 2012 decision not to spend any more workshop dollars on landscape painting. Besides, “Have boots, will paint [outdoors in the winter].” Meaning: I spent the big bucks back in 2010 for my duck hunting boots and the only time I use them is when I am painting outdoors in the winter–a pretty rare occasion. I was a little concerned by the fact that I am now five years older than I was when I first braved the conditions of frigid temps and difficult terrain underfoot. Regardless of any other measure of the workshop, mere survival was this year going to equal success.

I did survive–maybe! Four of our company had been nursing various cold-like symptoms, and Wednesday night after being back home, my own version of the ailment announced its arrival with a sore throat. I have taken the previous three days off to rest and recuperate, getting nothing done. Still no recuperation in sight, alas! I still have a wretched sore throat, along with other miseries. My resilience was probably compromised by those five years of aging, not to mention the daunting weather conditions we braved over the weekend: temps in the minus column before calculating the wind chill; fierce wind gusts; and on the last day (Monday), a new layer of snow falling gently. I was very happy to stay over at the Inn an extra night.

Miriam and Nick (the Innkeepers) kept the kettle on all day for tea and cocoa and if the timing was right, an artist could go inside to find warm brownies or ginger cakes awaiting. We stayed on the grounds of the Inn to paint, same as we had done in Sugar Hill. Sunset Hill Inn had a spectacular view of Cannon Mountain and Franconia Notch, but at the Bartlett Inn we enjoyed a different kind of subject matter: trees, buildings, roads, all covered in snow. No vistas. That suited me fine.

Snow as a painting subject is surprisingly complicated. In earlier days, before I knew any better, I’d painted a lot of snow scenes from photographs, which doesn’t even get near the problem. My blog of 2010 and 2011 talked about some of the issues, but when I migrated that blog to this site, I never reposted the photographs of those paintings. I am remedying that oversight now, but I’ll post those earlier paintings here too. In chronological order:

Hammock in Winter 2010 (despite the title, it’s really about the shadows) 11×14

Plein Air Artists 2010 11×14

Franconia Notch 2010 (footprints were inserted back at home, I think) 16×20

Alone on the Trail 2011 (yes, it snowed on our Snow Camp that year) 16×20

Franconia Notch 2011 (what happened to the stone wall?) 16×20

Stape always does a demonstration painting in the morning. It’s harder to deal with the cold when you are not absorbed in your own painting, but at least you can keep your hands warm. I spent both afternoons of the first two days working on one scene. The first afternoon was largely wasted: I had “toned” my panel to cover up an old painting underneath, and the paint I had used refused to dry. As a result the toning color (tan) was muddying up the new composition. And it was so cold that I couldn’t even squeeze my white paint onto my palette. Stape had to do that for me. And the paint was so stiff that I couldn’t mix it or spread it. Stape told me to wipe it down to get rid of the bad underpaint, then use a lot of Liquin to soften up and dry the new paint. The next morning, I went straight to work, forgoing the demo. Because of the conditions, I quit pretty early, about 2:30 in the afternoon that Sunday. Today I cleaned up the faults still remaining in the painting, and this is the result:

Last Scrap of Light at the Bartlett Inn

Whereas the 2011 workshop had been about getting all the primary hues into the snow, this year the problem was getting the values right. I had to make sure that no spot in the snow bank was as light as the lit edges, and I darkened all the shadows in the foreground so as to heighten the drama. The scene is of the cottages next to the Inn itself.

The next day, it was snowing all day. I watched Stape’s demo in the morning and started a smallish (12×16) painting in the afternoon. Most of us felt limited to whatever we could grab as subject matter from the shelter of the porch; I was right on the edge of the cover. Light, flaky snow accumulated on my palette during the course of the afternoon. I didn’t worry about it though, because Michel (hearty and hardy Nova Scotian) set up down at the road with only an umbrella to shelter himself. Here’s my view from the porch of the Inn:

Driveway into the Bartlett Inn

In addition to Michel and the usual assortment of NH and Mass. artists, we had artists from Houston, Texas; Baltimore, Maryland; and “an imposter” from Huntington, West Virginia. “Imposter” because he was not a painter at all, but an author, engaged in research for his new novel featuring an artist. You can buy his first novel, about a musician, from Amazon: Song for Chance by John Van Kirk. I downloaded it to my iPad but haven’t been up to reading it yet.

Snow Camp 15 - 31

In the background you can see the cottages that I featured in my first painting. The tall guy in the orange hat is Stapleton Kearns. It’s the same hat he was wearing in 2010. The guy in the red hat is James, who has not missed a year of Snow Camp since it started. The guy in the light gray parka is Byron Carr, who initiated the Artists’ Getaways as the Bartlett Inn–back in 2005, I think. From left to right: me; Michel; Jack; Jason; Gina Anderson (fellow artist at East Colony); James; Suzanne; Stape (in back) and Holly (in front); Gary; Dave Drinon (buddy from many classes at NHIA); Byron; John the Imposter, and Debbie (the organizer par excellence!). Wonderful collection of people!

Aline Lotter is currently exhibiting:

at the East Colony Fine Art Gallery in Manchester (Langer Place, 55 S. Commercial St., Manchester, NH); at the Bartlett Inn in Bartlett; at the Bernerhof Inn in Glen; at the law offices of Mesmer and Deleault at 41 Brook St in Manchester; at the McGowan Gallery in Concord, NH.

Three Pies on One Finger

Posted by Aline on November 11, 2014

The three pies are: Landscape en plein air; animal portraiture from photo; and human portraiture from life. I am happy with all three.

First, the landscape happened when I went down to Boston to collect the painting that was on exhibit at the Arboretum. A week ago, Thursday, October 30, was a beautiful day–yet another beautiful autumn day in New England–if this is climate change, it’s hard to root against it! Not willing to devote the trip solely for pickup, I brought my painting gear. The Arboretum allows me, because I hold a handicapped designation (walking disability–I can walk, but not real far, and even less far with my painting gear on my back), to drive into the garden and park wherever I need to for the sake of art. The top of Bussey Hill would have been inaccessible to me if I had to rely on my legs to get me there.

On Bussey Hill (in the Boston Arboretum)

From Bussey Hill, the highest point in the Arboretum, you can see the skyline of Boston, and that view was my original target. But when I got up there, the skyline view was mostly obscured with trees still hanging onto leaves, so I found a better one. The distant blue mound is probably Blue Hills, to the west of Boston. Painting foliage in this way is what I consider to be my forte. So far, the world has not beaten a path to my doorway in response, so maybe I need to find a new forte.

For portraiture, I have two examples since I have had two meetings of the Monday Life Group after my last posting. The model who posed pregnant and nude for us a few months ago has delivered of her baby, a little fellow named Montain. That’s a heavy name for such a small scrap of humanity, so I think of him as Monty. At only a few weeks old, he participated in his mom’s modeling gig. He was very well-behaved, but he did squirm. It was an extreme test of the artists’ ability to memorize gestures and get them down so as to create a recognizable babe in arms, not just a blob in swaddling clothes.

Introducing Monty

He lost a sock at one point, which delighted me. He actually sucked on a pacifier most of the time, but I managed to suggest a face without pacifier. Perhaps I should have gone with the pacifier? Inasmuch as it felt a little bizarre to have mom nude while the babe was fully clothed, we asked her to return next week prepared to pose for us clothed. The next image is the result:

Take Two: Mother and Son

Monty’s head is a bit misshapen, so this one must be taken as a work in progress. Funny how I never noticed that strange shape until I saw this image.

Finally, something different. I love cats. I own two female cats, and I live with another two male cats, which one of my granddaughters left behind when she moved out. The boys are quite young. Lively. Pushy. I have resorted to keeping them separated from the girls, who are exceptionally intimidated by them. The boys leave no stone unturned in their effort to make sense of the world around them. Causing stuff to fall to floor is one of their favorite experiments. But they have stolen my heart.

Partners in Crime (WIP) 16×12

Blue, the one on top, is just turning one year old this month. Milo is probably one and a half. Milo is more respectful of my space. Blue respects no one’s space, but he does not aggravate the girls as much as Milo does. Blue will leap on me without warning and just cling onto me until I cradle him. Bad habit acquired when he was more of a kitten.

I only have a little bit of work left to complete this painting, after which I will have giclees made of it since I have heard that animals sell. Whether the granddaughter gets the original or a giclee for Christmas remains to be decided.

Aline Lotter is currently exhibiting:

Dazed and confused

Posted by Aline on November 1, 2014

I’m finding it harder and harder to keep all my balls in the air. The blog ball is usually the first to hit the floor. As my years pile up, I seem to slow down. All too often, I tell myself, “You deserve a break.” “Deserve” maybe, but “can afford”, not so much. Could the train of artistic success be slowing down to the point where it may become sidelined altogether? (I can’t resist mixing up a few metaphors. Trains, jugglers, they seem to go together OK, as in a circus somehow.)

Maybe it’s time to focus on the good stuff that has happened. Thinking . . . Well, I got into a regional juried exhibit at the Center for the Arts (CFA) in New London. To be more accurate, one of my paintings got into the exhibit (as an exhibitionist, I was always a nonstarter). The chosen painting is “Enchanted”, a 4-foot tall gallery-wrap. [You can see it on my page titled “Studio Landscapes.] I painted Enchanted quite a while ago, and it has hung at Hatfields, and at Kimball Jenkins, then briefly at East Colony, where I noticed how warped it had become. I knew I had to do something to correct that issue before taking it up to New London, so I decided to mount it on a larger, stiff board, like plywood. But plywood that large would be quite heavy. So I am using instead a large piece of foam insulation board, which I painted dark brown.

Enchanted, on foam board

The board, for all its stiffness and success in correcting the warp, is kind of a fragile surface. That’s worrisome, and I am now debating whether to glue on some thin slats as to mimic a frame, which would protect the edges. Such a project it has become!

frame added

The reception for the CFA exhibit is this coming Friday, November 7, 5-7 p.m. at the New London Inn, 353 Main Street, New London, NH. Unfortunately, there’s little chance I will get there. That Friday is one of my Boston Symphony Orchestra Fridays, and we rarely get back to Manchester before six p.m., and New London is another 45 minutes North. But if you are in the vicinity of New London next Friday night, do check it out and let me know what I missed.

Another upcoming date to be hyper-aware of: Saturday and Sunday, November 8 and 9, are NH Open Doors. My personal studio is not participating, but I will be at East Colony Fine Art Gallery on Sunday, demonstrating my painting. The hours for East Colony are 10 to 4, both Saturday and Sunday. The address is 55 South Commercial Street, Manchester NH.

I have two new figure studies to show you. One is Margaret, clothed in a striped shirt. The second is Nancy, clothed in a different striped shirt. Nancy is one of us artists, but graciously filled in when our scheduled model couldn’t get there on Monday. Nancy usually sets up the pose and lighting for us, so when it came to setting up herself and lighting herself, she was handicapped by not being able to judge how it looked. Looked pretty good, I guess. I’m happy with my result. I do love stripes! Why to people assume I’m being sarcastic when I say that?)

Margaret Sept 2014 16×12

Nancy as Substitute Model

Although it looks as if I had more time with Nancy, and therefore she must be on a smaller canvas, both paintings are on 12×16 panels. I was forced to paint in a background around Nancy because I was painting over an earlier painting, and I hadn’t covered it up with a neutral ground the way I had done for the Margaret panel. When forced, I can stretch.

But the Margaret was a struggle, and I wasn’t sure I wanted to show it on the blog. It does look better “in person”. (Note to self, must come up with better term to express personhood of a painting.) But today I couldn’t resist juxtaposing the two poses and their stripes.

Here is a Mark Your Calendar alert: The NH Institute of Art is holding “Art and Soul“, its 4th Annual Auction in Portsmouth this year. Thursday, November 13, 6-8:30, at Discover Portsmouth, 10 Middle Street, Portsmouth, NH. I have donated my Lotus Studies to the cause (see it on Studio Landscapes page), and the family of my recently deceased friend and law partner, Hilda Fleisher, has donated something from her large collection of contemporary NH art. I can’t wait to see what it is, out of all the pieces with which I became familiar during her life. This event is always fun, with great music and food, and artwork. Tickets cost $45–worth it!–and all proceeds go to fund student scholarships.

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 Bartlett Inn in Bartlett and the Bernerhof Inn in Glen; 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; at the Norris Cotton Cancer Center in Manchester (but access is limited to patients and health care workers). Two Lowell Cemetery paintings are on view at the Arts League of Lowell, 307 Market Street, Lowell, Massachusetts. In a few days, Enchanted can be see at the New London Inn (address above). And in Portsmouth’s Levy Gallery, you can find 8 of my newest 6×6’s as part of the annual Women’s Caucus for Art 6×6 show.

New Hampshire’s Fall Foliage

Posted by Aline on October 21, 2014

Last weekend was the annual Fall Artists’ Getaway Weekend to the White Mountains, based at the Bartlett Inn in Bartlett, New Hampshire. We had some rain, but we also had some glorious, warm sunshine. If only the wind hadn’t accompanied the sun, we would have had little to complain about. As it was, Byron Carr flourished, creating one of his most spectacular paintings (and that’s saying a lot) under threat of rain. Unfortunately, and as usual, taking a photo of it never occurred to me when it counted. So you’ll just have to take my word for it.

I have my own version of a cloud painting. This was my first painting of the weekend, Friday morning’s painting.

Pumpkin Patch under Cathedral Ledge

It was actually raining when we set up. Umbrellas intended for use against the sun turn out to serve also against the rain. Who knew? Gradually the clouds rolled away leaving the Ledge exposed, but I stayed with my initial impression, with the Ledge almost totally obscured. The green patch is surrounded by pumpkins but appears itself to have been freshly sowed in something growing bright green–a cover crop perhaps. The intense green is unusual at this time of year, but trust me, I even downplayed it a little.

Although I had driven up to Bartlett the day before, Thursday had been a solid, hard rain day. I left Manchester kind of late (around two o’clock) and arrived at Bear Notch Road about four o’clock, in no hurry, enjoying the views without any urgency to paint them. Bear Notch Road connects the Kancamangus Highway (a famed scenic highway) to Route 302 at the center of Bartlett–a great shortcut through the hills and woods. Bear Notch is a two-lane road with overhanging trees. The trees were still in full leaf, orange, red, and yellow. The rain was unrelenting. I felt as if I were floating through an orange cocoon, what with the rain slick on the road reflecting back at me all the oranges, red, and yellows of the trees. I studied the effect as best I could, trying to memorize the elements. But I didn’t stop to photograph it. Story of my life, right? (Well, it was raining pretty hard.) So, to get to the point of Bear Notch Road description, when I finished the Pumpkin Patch before my companions were ready to move on, I started a painting of my memory of the orange cocoon. I continued to refine and improve on it over the weekend, and again today. I added the white line, although Bear Notch has none, in order to facilitate identification of the ribbon as a road, not a river. My problem then was getting across the idea that what you are seeing on the road is water reflecting trees, not just fallen leaves. Only you can tell me if I succeeded.

The Orange Cocoon

Friday afternoon we relocated to Jackson, all the way around to the other side of what I think of as the Mount Washington wilderness. There are the two routes leading northward out of North Conway: 302 runs to the west of Mt. Washington, and 16 to the right. Eventually, each route gives access to Mt. Washington. The western route offers the Cog Railway. The eastern route has the Auto Road. All weekend we got no farther North than Bartlett on the West and Jackson on the East. This was kind of strange, but the weather did limit our painting time somewhat, so we tended to stick closer to home base.

In Jackson, the Jackson Falls are always a big draw for artists. But we had another motive: reception at five in the Jackson Historical Museum, for exhibit opening and sale of White Mountain paintings, both old and contemporary. Yes, there were many Champneys for sale. Here is proof. Upstairs in the Museum are paintings from its permanent collection, grouped by the area of the Whites being depicted. In the center of this room is a topographical map with the locations identified. A treasure. Downstairs I discovered that I really like the works of Edward Hill, but could not afford to buy any. Upstairs, I discovered I really like William Henry Hilliard, especially this work of his called Eagle Cliff.

Eagle Cliff, by W.H. Hilliard

I have my own version of Eagle Cliff from Profile Lake, which I call “Profile Lake”, the cliff being not a prominent feature in my painting. See it here.

The food at the reception was outstanding, by the way.

Ah yes, my Jackson painting. Sharon and I set up in the parking lot of the Museum, in part because there were good views of the town center and of the river that flows down from the Falls, and in part because we’d be on the spot, parked and ready for the reception at five o’clock. I chose to paint a small section of the river where artfully arranged boulders create happy little rapids.

This is actually a cropped photo. I will be cutting the painting down as cropped, which I can do because it was painted on paper. Guerrilla Painter “carton” paper. The top part of the painting is distracting and irrelevant, and I shouldn’t have wasted my time or paint on it.

Saturday we revisited May Kelly’s. My idea. Last Spring we painted in the back of May Kelly’s, an Irish pub-type restaurant. My painting was of the back of May Kelly’s. See it here. Around me, other artists had been painting a terrific view of the valley with the Saco River with White Horse Ledge looming over all. Shortly after I got home in May and photographed my painting, the May Kelly painting went missing, never to turn up again. Perhaps one disadvantage to painting on paper. Anyway, having lost the earlier version, I was eager to paint another version of the back of May Kelly’s. As before, other artists’ attention was focused on the valley view. We got rained out, and headed indoors for lunch and reconnoitering. Terrific lunch! By the time we finished eating, the rain had let up a little, but instead of finding a new location, we went back to the Inn and worked on our unfinished paintings. I had taken a reference photo of the back of May Kelly’s just before the rain hit (finally, I remembered to take a picture), so I was able to finish that painting using the photo. In fact, the photo was enormously helpful because it revealed to me how wrong one of my angles was.

May Kelly’s, v. 2

After finishing May Kelly, I worked on Orange Cocoon some more, getting advice from anybody who was willing to give it, about how best to convey the rain reflections. Saturday night, per our tradition, we got pizza in for supper and reviewed all the paintings that we had created over the weekend. Byron as usual and as appropriate (he organizes the weekend) had the most, and one of the best. Byron Carr. Link here to his website. Other great artists participating: Elaine Farmer from Amherst, Sharon Allen from Derry, Bruce Jones from Exeter, Diane Dubreuil from Connecticut, Penny (sorry, can’t remember her last name) from Maine, and Phil Bean from Milford.

Sunday I meandered my way home, looking for a spot that needed painting. I didn’t find it where I expected to, along Route 153 through Eaton and Purity Springs. But on a whim I left the main road (I think I was on Route 28 at this point) to explore up a hill to a place called Moultonville, and happened on just the right spot: an eye-catching scene accompanied by place to park and another place to paint, all without risk to life, limb or property. According to one of the interested residents who stopped to engage me in conversation, the subject of my painting is owned by an artist, last name unknown.

Moultonville Home

So another productive weekend in the company of some of my favorite people comes to a close. You can’t ask for better.

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 Bartlett Inn in Bartlett and the Bernerhof Inn in Glen; 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; at the Norris Cotton Cancer Center in Manchester (but access is limited to patients and health care workers). One painting is hanging this last week in the Boston Arboretum visitor center. My two cemetery paintings (seen here) are on view at the Arts League of Lowell, 307 Market Street, Lowell, Massachusetts. And in Portsmouth’s Levy Gallery, you can find 8 of my newest 6×6’s as part of the annual Women’s Caucus for Art 6×6 show.

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!

Plein air painting in Vermont

Posted by Aline on September 30, 2014

What a glorious weekend it was! We (Sharon Allen and I) took the scenic route to Bradford, Vermont, to stay with Nancy Griswold, an artist who recently relocated to Vermont after living in New Hampshire and Connecticut. She didn’t know me at all, and had met Sharon only once before, yet opened up her newly restored farmhouse to us as an “artist retreat.” Women artists’ retreat. I can’t say enough about the classy accommodations and the welcome she gave us.

I hadn’t painted in Vermont since July 2008, when I took a workshop with Albert Handell in Putney. I was so new to painting then, so green. It has been a long journey in only six years. Nancy has had a longer (lifetime?) career as an artist, but hadn’t been out painting en plein air, or even in her studio, for many months due to the press of other urgencies. Sharon, of course, is also known as Plein Air Gal, and runs our NH Plein air group, and shows up at practically every outdoor event on our calendar.

Fall foliage had arrived in Vermont seemingly just in time to meet us there. Color blazed up in vivid patches against backdrops of shifting shades of green: a crazy quilt of purples, roses, vermillions, reds, oranges, ochres, lemon yellow, yellow green, emerald green, sap green, with stitches provided by white birches–not better than New Hampshire’s foliage feast, but earlier. Whereas New Hampshire scenic views tend to be mountain- and waterfall- focussed, the Vermont locations relate to farms.

Though separated only by the Connecticut River, the two states are surprisingly unlike each other. And not even that separated either. Bridges between the two were plentiful–seemingly more plentiful than the bridges New Hampshire erects over, say, the Merrimack River. (Manchester is divided between the East side of the Merrimack and the West side, with only three bridges to connect the two.) Vermont has no city of comparable size on the Connecticut River, but it seems as if every little Vermont town has a road to New Hampshire.

Nancy had arranged for the three of us to spend a day with Robert Chapla, an artist now of Newbury–a few miles north of Bradford–but formerly of San Francisco. Robert is a magnificent colorist–for example:

Directed Crossings, by Robert Chapla (his San Francisco collection)

Robert is restoring the farmhouse and barn and outbuildings on a large, hilly stretch of land overlooking his neighbor’s pond and green grass. I chose for my first painting that pond, viewed from the road. For my second painting, I went back up the hill to capture one of the outbuildings and the “driveway”. A truly bucolic version of a driveway. Sharon chose it for her second painting too.

Sharon and Aline, painting the driveway

Me and my two Chapla paintings

For better views of the paintings, look for them on my “New England Landscapes en Plein Air”.

On our way home Sunday, we stopped by a store in Quechee, Vermont, called “Scotland by the Yard”. By way of illustration, I guess, they keep a flock of sheep in the front, between the highway and the store. After stocking up on Christmas presents for our Scottish family members, Sharon and I set up our easels and painted a landscape with sheep. Here is my version:

Sheep

This Saturday I will be demonstrating how I paint as part of the East Colony Fine Art “Demo Day”. Eleven of our artists have agreed to show how they do what they do. Here is a copy of the postcard we are sending out to advertise the event.

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 Bartlett Inn in Bartlett and the Bernerhof Inn in Glen; 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; at the Norris Cotton Cancer Center in Manchester (but access is limited to patients and health care workers); and at her studio by appointment (email: alotter@mac.com). One painting is still hanging in the Boston Arboretum visitor center. And in Portsmouth’s Levy Gallery, you can find 8 of my newest 6×6’s as part of the annual Women’s Caucus for Art 6×6 show.

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!

Double courses, Double helpings

Posted by Aline on September 5, 2014

I’ve been painting so much lately that I have not had time to blog. Today’s blog, therefore, will cover a lot of activity. On the menu are three pure landscapes and three figures in the landscape. You have seen earlier versions of two of the latter, so we’ll start with those even though my changes to the originals represent my most recent activities.

The Black Kimono, Take 2

I felt I had to fix the arm in Black Kimono. That is kind of a dangerous thing to do, especially since I had no photo reference, or if maybe I did take one, I forgot to look for it. I just plunged ahead, building a right arm where I felt it should be, given where the left arm was. The right arm still disappears behind her thigh, but the angle is more natural, and the plumpness of the forearm conveys the message better. I am not declaring Black Kimono “done” yet because I am considering whether to add some pale streaks of lights reflecting off the kimono, so as to better delineate the leg underneath. I hesitate because the result will be gray, and that can just look messy.

I have not had much experience with black. In fact, I used to not carry a tube of black with me at all. If I needed black, I would just mix the darkest available colors, usually ultramarine blue and burnt umber. I learned that in one of the first courses I took at the Institute. Peter Dixon was teaching color theory and Renaissance painting, and combined both of them in the same room at the same time. So I picked up basic color theory along with grisaille and glazing. Black was not used for either course. Since then, I have encountered many other teachers who make “black” with their own combination of darks.

Yesterday morning we met again in the Lessard garden with our nude model. You’d think with another three hours to work on something that seemed really close to finished after the first three hours, that it would be perfect now, and I even could have started a second painting. Alas, not so. I’m less happy with it now than I was last week. Maybe happiness is a function of the number of hours expended on something. Longer generates higher expectations, perhaps higher than achievable.

White Floppy, Take 2

Her new face is what bothers me the most, but I also see background “errors”. And one of the reasons for spending the extra time–improving the patterns of light and shadow on the figure–just don’t dazzle like I hoped. It seems that just when I feel I am making significant progress of that ladder of artistic proficiency, I come up short and get knocked back a peg or two. Did I just mix a metaphor? How embarrassing! I used to be so good with the English grammar stuff.

While we are looking at figures in the landscape, let’s check out the Last Pose of Summer–the last one in David Curtis’ garden. Our model Mary Ann brought a costume reminiscent of Gibson Girls–between Victorian and the Roaring Twenties. On top of her filmy white gown, she wore a dusty pink lace coat. Dusty pink is close to the color of skin in shade. How hard will that be to depict!

The Last Pose of Summer

I kind of think I nailed it. I would have liked to capture more definite leg shapes, but it was windy and the fabric kept swirling around her so as to prevent any sort of definitive anything. Go with the flow, I say. So I did.

For the pure landscape selections, we have another local back yard, one to dream of, a trip southward to a vista of brackish marshes, and tree portrait from the Boston Arboretum. However interesting these scenes might be to a viewer, to this artist they felt dreary for the lack of a human presence. Or even a dog presence. I have become quickly spoiled by my good fortune in David Curtis’ garden. Still it is good to be outside painting:

Elaine’s Back Yard

This really is in the back yard of a fellow artist, Elaine Farmer, who just moved to Amherst and invited us over to paint on her fabulous garden. But we can’t resist water. And there was a little foot bridge over the stream, whence I painted.

Cox Reservation

The Cox Reservation is located in Essex, Massachusetts. David Curtis and a group of his followers meet up there regularly to paint. I have actually painted this scene before, when Sharon Allen and I were exploring the Essex National Heritage Area. As I was driving down, I resolved not to get sucked back in with this vista, but rather to find something interesting, preferably with flowers, to paint close up. So much for resolutions. I hate vistas. They are so hard! When I started on this one, there wasn’t even any water to paint, but as the tide rose, it got better. But why was I even there? I don’t know. Something in my afterlife must have required it. No, I have it! I just compared it to the earlier one (linked above), and it seems my vistas have improved somewhat since 2012. Yea!

Smoke Bush at Arboretum

Finally, the Smoke Tree. I had to deliver a painting to the Arboretum anyway, so I decided to make a day of it and paint something. No vistas this time. I went looking for flowers, and found mostly flowering trees, which is not something very common at the end of summer. This bush (“tree” is reserved for bushes that grow a lot higher) was located at the top of Bussey Hill. Luckily, there was a road to get me there. (They let me have a driving permit because I couldn’t carry my gear all that way, and I do have handicapped privileges due to the arthritis in my back.) I labored over the Smoke Bush so much harder than I should have had to, and I suspect that is because I had the time to do so. Had a model been present to paint, the tree gets abstracted in the background.

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 Bartlett Inn in Bartlett and the Bernerhof Inn in Glen; 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; a single painting is on view for one more week at the Radisson Hotel in Manchester; at the Norris Cotton Cancer Center in Manchester; 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 the private feedback form below. 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!

Garden Magic

Posted by Aline on August 12, 2014

I get so caught up in my narrative blog content that I always forget the marketing bits, where I would be announcing I got into this show or that, and sold this painting or that. Such a waste of those small, ephemeral moments of triumph! Meanwhile I’ve been moaning about failures. Wallowing in failures. I hereby resolve hereafter to “accentuate the positive,” starting right now:

My painting of “Margaret and her Nook” has been published in an online mag called “Art and Beyond”; here is the link to the magazine; you will need to click forward to find my page.
5 of my paintings were accepted in the “Healing with Art” exhibit at the Norris Cotton Cancer Center in Manchester. (reception Tuesday Sept 9, 5:30-7:00)
My painting of “Fur” has found its forever home, after being on exhibit for only a few hours at the Bedford Library.
My painting of “Willow Path in Winter” has been accepted in the annual JPOS (Jamaica Pond Open Studios) exhibit at the Arnold Arboretum in Boston. Reception Thursday Sept 18, 6-8.
My application to apply to the Copley Society in Boston has been accepted–allowing me to apply for Professional Artist Membership, which requires a long checklist of images and written materials that I need to produce before a January deadline. Checklists? No problem for a former tax lawyer.

Listing the good things maybe once a month will at least boost my spirits, even if it doesn’t have any noticeable effect on sales. Sales are the ultimate boost in spirits. Nothing says “I love your painting” quite like the handing over of real money in exchange for the painting. One of my teachers had a standard reply to anyone who said “I love your painting”: . . . “It’s for sale.” But we can’t all buy all the paintings we love. I know that all too well. So it’s OK to keep telling me when you love my painting even if you can’t buy it.

So, down to the real business, that of creating beautiful paintings, maybe to sell. I spent two afternoons last week in a garden full of little nooks and pathways and whimsey. This garden is hidden behind an ordinary house in an ordinary neighborhood. It was created by colleagues of mine, a photographer/painter-husband/wife combo–although credit for the garden has to go principally to the husband. The wife, Dee Lessard, paints beautiful still lifes but has little experience with plein air painting (or gardening). Her husband, Guy Lessard, was pretty pleased to find Dee and me at our easels in his garden, immortalizing the beauty he had built.

Magic Garden No. 1

If you follow the path marked by the stepping stones, into the darkness beyond, you come upon a pool full of dappled sunlight and brilliant koi. I longed to see (and paint) a figure leaning into her reflection here. But saving that one for when I have a model, I chose this simple scene that melds so delightfully a half dozen different plant varieties. I completed this one in a two-hour afternoon, just before the skies opened up in buckets of water.

A few days later, we went back out, Dee to continue working on the one she had started and me to find another magical place. No. 2 is to the right and down a slight slope from No. 1, looking back at another path to get to the koi pond.

Magic Garden No. 2 (before adjustments)

The Fairy Chapel (Magic Garden No. 2, after adjustments in color and value)

Guy rescued the little church birdhouse in an antique store with steeple intact. But adverse elements had obliterated the steeple over time, so I was painting what could have been a New England meeting house when Guy came over and requested that I add the steeple. I was only too happy to oblige.

For both garden paintings, I had started with a surface toned dark, mostly with burnt umber. Very little of the toned surface still shows, but where it does, it enhances the contrast that makes a painting interesting.

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 Bartlett Inn in Bartlett and the Bernerhof Inn in Glen; 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; two paintings are hanging at the Bedford Library as part of the Womens Caucus For Art exhibit “Summer Bounty”; a single painting is on view at the Radisson Hotel in Manchester for the summer; 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 the private feedback form below. 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!

Two weeks of earnest painting

Posted by Aline on June 21, 2014

You know what I just realized? Painting from photographs is way (I mean WAY) easier than painting from life. Obvious? Not until now. Until I painted the Haitian boy carrying the bundle of sticks (see here), I had not painted from a photograph for so long that I had forgotten what it was like. I don’t remember thinking it was easy. But then came the Haitian boy, and I just popped it out with hardly any effort, followed by a pretty decent cat portrait. Then yesterday, after painting two successful landscapes from photographs, after being dissatisfied with two plein air efforts, it hit me. Wow! I’ve been doing all this the hard way. The hardest way! No wonder it has been a bit of a struggle.

On the other hand, I suspect that past struggles to paint from life are exactly what made painting from photographs seem easy.

I will show you first the stuff painted from life, then the recent landscapes from photographs.

Extended pose, green

This large (20×16) figurative work is unusual in that the model (yes, Becky) is standing and we had close to three full sessions of three hours each to work on it. This was the last pose from the open studio course I took with Deirdre Riley.

Extended pose, red (12×9)

Yet another seated pose of one of my all-time favorite male models–so I tried to Think Different, but Better. We had two of our unmoderated Monday sessions for this pose, so I tried to get the drawing perfect, and apply the paint with gusto. Towards the end, I wiped out the left hand (appearing to our right) and started it over after asking him to spread that pinky finger the way I remembered it originally. Good decision. You even get a feeling for his finger pressing into his flesh. (By the way, because of my request, our model traced his fingers on his thigh so as to ensure consistent finger spread between breaks–I call that Above and Beyond the call of model duty!)

After the Monday morning of figure painting, I indulged in a Monday afternoon of landscape painting. I went intending to paint a barn, but found myself seduced by a massive tree and the lavender stones at its base. After about an hour and a half, I had the canvas covered, mostly in green and more green. Horrible. Yesterday I took it in hand and glazed it over in darker shades to alleviate the poisonous green. Here is the Before and After:

Poison! (wip)

Cured! (12×16)

I hope you feel as if that branch is reaching out to grab you. Takes me back to my childhood obsession with the Oz books, in which grabby trees were pretty common.

Wednesday I met up with colleagues (Fran, Cindy, Bea), whom I had last summer dubbed the Cornwall Four (here) because we were drawn together by the workshop “Inspired by Cornwall” last summer, given by Cameron Bennett.

We were in the woods next to Dorrs Pond, on a path trafficked by dog walkers, joggers, distracted school children, disabled adults, delinquent teens, delightful immigrants–and I was accessible to all of them. My chair was uncomfortable–I had to lean forward to paint, and my back could not take it. Enough of excuses. I just felt dull about the whole thing. So yesterday, I tried to pizzazz it up. Mostly a matter of spreading darker colors over most of it and lighter colors where I remember the light being. It satisfies better, but I don’t think it is going anywhere.

A walk by Dorrs Pond (11×14)

All that straining and effort to make a silk purse out of a sow’s ear. What a contrast to the next project. It all started a week ago Friday when Sharon Allen picked me up for a jaunt up North. It was raining, but we were hoping that as we got father north, the sun would appear. It didn’t. But we were on a mission: To paint or photograph the barns of Madison, New Hampshire. Our effort was part of a larger event organized by the Friends of Madison Library, a fundraiser in which our paintings would eventually be offered for sale, commission to the Friends. So we drove around photographing five barns that are part of the event, and whose owners didn’t mind having artists set up painting on their properties. We didn’t encounter any such thing, nor did we ourselves try to paint in the rain. Sharon had brought a tent for us to paint under, just in case we were overcome by irrational desire to paint through the rain. Instead and more sensibly, we photographed madly, even through windshield streaming with water.

So Thursday, with my dissatisfaction with the two plein air paintings painfully in mind, I decided to tone my canvases in burnt umber. Start dark, I strategized, and then block with in the lighter values. It worked! (Chorus of hallelujahs)

Madison Barn #1 (11×14)

Madison Barn #2 (11×14)

I used acrylic paint for the layer of dark. New puzzle. Do I report the media for these two paintings as “mixed”? Some of the dark acrylic undertone definitely shows up in the finished painting. But if I had started on a canvas that was primed in white acrylic, and left some of the white showing, I wouldn’t call that mixed media.

Aline Lotter is currently exhibiting:

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 the private feedback form below. 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!

Artists’ Getaway Spring 2014

Posted by Aline on May 20, 2014

As promised, I have returned from our semiannual getaway to Mount Washington Valley with landscapes of the North Country. Despite still feeling out of sorts, I pulled myself together enough to produce five small paintings. I felt inadequate, so I took only 8×10 panels and a packet of 9×12 carton papers. This morning I took the photographs, and I guess they aren’t so bad. All were dry, already! I use a lot of Michael Harding paints, which are slower drying than some for some artists, but for me, they dry fast.

Starting from the beginning, Friday morning, we gathered at “Fourth Iron”, a railroad bridge over the Saco River, near the highway (Route 302), with a parking lot made to order for painters and fishermen. We had four new painters with us: Bea Bearden, Kitty Clark, Jeri Bothamley, and Michele Fennel. The “seasoned” painters were Byron Carr (the organizer of the weekend), Sharon Allen (the keeper of NHPleinAir artists), and Jim O’Donnell. We were later joined by Morgan, a regular whose last name has not made it into my memory bank, and newbie Ruth Sears and her guy friend Joe. Add to that mix the innkeepers Miriam and Nick Jacques, and you’ve got quite a lively group, ready to paint and party.

Back to the Fourth Iron. Some of us, including me, painted the bridge; others painted the mountains; still others split off to paint nearby at the Notchland Inn, which, I learned for the first time, has a parlor designed by Gustav Stickley. I have a painting of the Notchland Inn somewhere in my piles of landscapes, and an earlier one of Fourth Iron. Before Hurricane Irene washed out the original road and trees, we had to hike in a little bit to get a good view of the bridge, or scramble down the riverbank to get this view we now get from the parking lot, which was created from the remains of the original road:

Fourth Iron

After lunch, we headed south to North Conway, to an area called Flat Rocks Conservation area, and found a spot on the shoulder of the road where we had nice, unobstructed views of the rocky stream flowing by. We were interrupted by a serious rainstorm, so I never “finished” the painting.

Discovered Bridge

After coming in for the evening, it is our custom to take in what we have been working on and lean them against whatever we can find back at the Inn, mantels, window sills, floors. Luckily, the dog Noodles pays no attention to the wet paintings (mostly oils, a few watercolors) on the floor, and he is not a shedder (“cockapoo”–I painted his portrait as a puppy years ago). A few artists told me they liked my “stone bridge”. They were not, I later learned, referring to the iron bridge built on the stony embankment. So a lousy rendition of a big rock is now officially transformed into the shadowed tunnel under an imaginary but charming stone bridge.

Saturday, Sharon and I went exploring for potential new painting spots in the valley. We stopped at two farmhouses to interview the farmers (of alpacas and strawberries, respectively) about a mysterious road that showed up on Sharon’s GPS. When that investigation bore no fruit, we returned to North Conway to paint behind the restaurant where we ate Thursday night. Mary, the proprietress had told us we were welcome to paint there anytime, and it was a fantastic view across the valley with the Saco River cutting through. I, however, turned my back on that view and took on the fantastical restaurant itself. Ambitious.

In Back of May Kelly’s

Mary brought us coffee and two huge slices of gluten-free chocolate cake, so that was lunch and so much for sticking to my diet. We finished up about two thirty and went back to the Inn (Bartlett Inn). A very tall, very old white birch was still standing on the grounds in front of the cabins, and it was slated for removal, so Sharon and I each painted a portrait of it, dead but still beautiful.

Last Hurrah

That evening, as is our custom, all of the artworks were produced for comment. This is when I learned of the Stone Bridge. When asked which of my paintings was my favorite, I said the birch. Either the company disagreed with me, or they were anxious to help me make it better–whatever, it elicited several points of criticism: the foreground rock was too prominent and should probably be removed totally; the background green was . . . too strong?; the tree on the left was too distracting–it should be de-emphasized by bringing in branches crossing in front, or perhaps (my own suggestion) soften its edges (that is magenta on its right edge!). What do you think?

Sundays we usually pack up, check out of the Inn, and look for one last painting location before wending our ways home. Thanks to Sharon the explorer, this year we collected near a marshy area south of Conway, at Dollof Pond, with a view of Mount Washington. I looked it up on Google maps and found another pond nearby that I wish we could paint just for its name: Pea Porridge Pond. Oh, well, cheating not allowed.

Blue View (off Dollof Hill Road)

Thus ended the tenth annual Spring Getaway. I felt strangely unfulfilled. The next morning, Monday Life Group got me out of bed and into the studio. I brought a used panel, not even sanded down, not even toned over. To reduce distractions from the old painting, I applied a layer of burnt sienna, then added Gamblin’s Fast Matte ultramarine blue. Of course, these underlayers would not dry in time for me to paint over them, so I was asking for trouble, double trouble. The photo below isn’t good either, because light catches the wet paint on all those little protrusions. I dialed the exposure down to minimize the light bumps for you.

Nude with Texture

Something about this painting really appeals to me. The flesh may be a little “muddy” but color is all relative anyway, so I’m not bothered by that. What thrills me is that her right leg looks so real, so fleshy! Her face isn’t bad either. If only I had just a little more time to bring all of it up to that level of accomplishment.

Now I am moving into Panic Mode over the imminence of my Featured Artist stint at East Colony. I have to “hang” this coming Saturday!! OMG. But then it will be done and all I have to do is enjoy. I am paired with Larry Donovan, an artist whose works I noticed long ago at East Colony, so I feel quite honored to be in this position. Who’d a thunk a few years ago, when I hardly knew what was up? We are looking forward to seeing all our friends and collectors at the reception on Sunday, June 8th, from two to four. He wanted two to five, but I am just not up to three hours on my feet, making nice.

I am looking forward to seeing YOU if you are at all able to come, if not to the reception, then at some point between May 24 and June 28. Let me know when you are in town and I will try to be at the Gallery.

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 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; in the lower level of the Bedford Public Library, Bedford, NH; 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 the private feedback form below. 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!

Changing it Up

Posted by Aline on March 31, 2014

I’ve been dragging my butt lately and seven days ago I caught a cold, which gave me a terrific excuse to stay in bed for a few days. But at the end of the week, I heroically dragged said butt up to Bartlett, equipped with plentiful supply of tissues and cold meds, for a two-day workshop on . . . wait for it. . . Watercolor Painting with Byron Carr! Or as he ‘splains it, he’ll “show you how to slop, splash, splatter, scrub and spray your way to a finished painting.”

If anything can shake me out of my slump, will it be messing around in a medium that I cannot get the hang of anyway? What’s to lose?

Byron at work on his demo

The class was full at six students, all experienced painters, some actually quite proficient in watercolor but with something to learn about the Byron Carr approach to watercolor. And Byron entertains as well as teaches; he keeps us from taking ourselves too seriously.

Students Melissa, Marion, Jim, Nick

Sharon at work

Me at work

Nevertheless, all the photos of me seem to catch the serious side, or maybe that is just the struggle of adapting to the watery medium. Come to think of it, we all look very intense and serious.

The Byron Carr process starts out simply enough: pick a photo; crop and apply paint to the photo to create a thumbnail sketch of your planned painting; tape dental floss in an “X” across said photo to create quadrants that help in the transfer of the image; pencil in the big shapes on your 23×30 sheet of heavy-duty watercolor paper (140# Arches for those of you in the know). So far, so good. Then: apply paint. That’s when it gets interesting and frustrating. Byron applies paint, loosely mixed (No homogeneous puddles), then toys with it using sprays and scrubbers. The trick seems to be using just the right amount of water with the paint, either on the paper or thinning the paint on the brush.

Byron’s Demo

Byron paints fast, like a demon possessed, and splashes liberally. Note the plastic sheets covering the walls in the photos above. (The workshop took place in one of the large, handicapped accessible guest rooms of the Bartlett Inn. The innkeepers moved all the bedroom furniture out to make room for our tables, and draped the walls with plastic because they know Byron very well from years of past demonstrations.)

I don’t know enough about WC to distinguish one approach from another, but I knew what we were learning was different from what, for example, Dustan Knight does (she is the only other WC instructor I have been exposed to). Byron told me one of my paintings employed a technique that he does not use, to wit, layering. This one:

My No. 2 in progress

I think I was just trying to deploy techniques that work for me as an oil painter. Oil as a medium fits with my talents and intuition, and perhaps WC never will.

At the end, Byron had each painting up to display in his black mat so we could all appreciate what we had accomplished. Here are a few:

Melissa’s No. 1

Jim’s No. 1

Nick’s no. 2

Byron with Melissa’s No. 2

Here are photos of both of Sharon’s paintings. She took the pictures as they lay on the floor so I can’t square them up, but you get the idea:

You may have noticed that many of my fellow students obediently followed the master’s footsteps by painting rocks and waterfall, Byron’s specialty.

Proud Nick

I took better photos of mine when I got home:

My No. 1

My No. 2

I get to show mine off bigger and in higher resolution because after all, it is my blog! I’m really sorry that I did not have any photos of Marion’s two paintings to display, but here is a photo of Marion herself and I must say, she looks the happiest of the group:

Marion

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).

Smorgasbord of Art

Posted by Aline on October 22, 2013

My artistic output last week hit all the bases: nudes, portraiture, experimental landscapes, and plein air landscapes.

Skipping over Tuesday primarily because I don’t remember what I did and I do remember being unhappy with it, let’s start with Wednesday. Wednesday is usually a plein air day, but not last week. Adrienne held another one of her all-day figure study marathons, from ten a.m. until seven p.m. I had no pep, but was determined not to let my health issue stop me. But I could not keep it from slowing me down. Larry Christian and I were the only ones to stick it out to the finish, but I had to stop painting when I ran out of surfaces to paint on. For the last 45 minutes or so, I watched Larry working his charcoal magic on 10-minutes poses of the two models together.

I had two interesting compositions from a side angle:

Foot First

Girl Talk

Foot First was a pose of about two hours, I think. We were late getting up and running, and I had to cut out early to take my daughter to an appointment. The Girl Talk pose was maybe only 20 minutes. No, that can’t be right–it must have been at least an hour.

When the Girls next changed positions, they presented me with profiles of each. After 20 minutes, we found a compromise to keep me happy with long views of the profiles and Larry happy with frequent pose changes. Even as the models changed their poses frequently , they kept their profiles toward me. My view or angle would change slightly each time, but I managed to extrapolate from a current profile to the original profile.

Two Profiles

Thursday was the EEE class, wherein I am trying to discover abstract paintings in my plein air studies. The studies were 11×14. The class projects are 16×20. For both, I used a lot of paint applied with a palette knife. I love thick, juicily painted paintings, a la Van Gogh.

EEE No. 1

EEE No. 2

I was in the Mount Washington Valley and environs all weekend. The semiannual Artists Getaway Weekend organized by Byron Carr and sustained by Sharon Allen’s cohort of plein air fanatics brought together, in addition to Byron and Sharon, Bruce Jones, Sandra Garrigan, Patricia Sweet MacDonald, Jim O’Donnell, Elaine Farmer, a Gentleman Jim from Georgia whose surname I never got. I left for Bartlett after class on Thursday, taking only small panels (8×10) with me. I knew by that time that my fatigue will keep me from covering the usual amount of canvas. Sure enough, I finished only four paintings over Friday and Saturday, despite the fine weather we had.

Saco Riverbed

The Davis Farm

Thorn Hill Road View of Ledges

Mount Washington

The last painting, the one of Mt. Washington, took me only little over an hour, including nodding off time. ( Patricia caught me napping with brush in hand, so there’s no point in covering it up.) It is a simple composition, straightforward in execution. No broken color, no short strokes, no uneven thickness of paint. I was not surprised when many of my colleagues refused to believe it was mine. But they agreed I didn’t likely find it under the pumpkin truck either. I really could not have painted such a distant scene any other way on such a small canvas.

I have a new idea for this week’s EEE class: on my way back from Bartlett, traveling the Bear Notch Road, I took some photographs of the cloud shadows on the mountains up North and am planning to make something abstract out of those images for the class this week.

left center

Aline Lotter is currently exhibiting:

Health Matters, yes it does!

Posted by Aline on October 14, 2013

You may not have noticed, but I did not publish my usual post the week of September 30, or the week of October 7. Before Friday evening, I had been drafting a post in my head; I planned to use it to mull over the phenomenon of retirement generating more “optional” stuff to do and the psychology of slowing down anyway just because the pressure of earning a living has been lifted. Thinking philosophically or finding excuses, whichever you prefer.

But before I could commit those weak ramblings to the ether, an event occurred that provides a better explanation of my inability to perform at peak levels for the past weeks–perhaps the past few months, even. Unsurprisingly, I am all over that new, more concrete excuse, like a rat diving on cheese, and say in celebration, hail to the UTI and its curability with antibiotics.

How it all went down: I had been feeling kinda crummy for a few days, and even had a spell of faintness, but nothing interfered with my performance of essential tasks. I got to appointments, shopped for pet food, cooked, etc. Suddenly, late Friday afternoon, in the middle of trying to reconcile a bank deposit for one of my nonprofit organizations, I started to feel really chilly. I suspended that banking task and went to prepare an early dinner. I turned on the central heat and plugged in a space heater. I kept getting colder. By the time my hamburgers were ready to be served, perhaps only ten minutes, I was shaking uncontrollably–paroxysms might be the right word. I couldn’t talk, much less drive. Ambulance was called–by my 17-year-old granddaughter. Big scare put into family. Not so much me– I could not focus on anything except my desire to get warm. After a few hours of hydrating and testing in the ER, Good News! I was in terrific health but for this one thing, a UTI (urinary tract infection), curable with the right antibiotic (Cipro). The doctor said something about the infection being well-established, suggesting it had been present in my system for a while. That got me thinking of a health event that occurred on my way to Castine, back in July, which I could not explain. I looked up the symptoms (vomiting with lower back pain), but didn’t follow up with my doctor because the symptoms evaporated.

This morning I was infused with a microburst of energy, which resulted in the images that I will be sharing with you below. In the past three weeks, I have been more prolific than would appear from this meager supply of five images. The weekend of the Blackstone Valley Plein Air Competition resulted in four paintings. I forgot to photograph any of them, and had to leave them there for another month. One has been sold, and if the other three are too, we shall be at the mercy of the buyers for decent reproductions. It was a marvelous weekend, and I will go again next year if invited. I’ll save the details for when I actually have visuals to go along. Two additional paintings are at the Institute, drying. They are from my fall semester class with Patrick McCay, called “Explore, Express, Exploit”. They should be ready for photographing next week.

Here is the painting I made of Dennis on the Tuesday before Blackstone Valley:

Dennis in Plaid Shirt

I complained a lot about the plaid shirt, but I secretly was enjoying the challenge. Looking at it now, from a new perspective, I admire the casual but effective depiction of his feet.

After Blackstone, I hit the ground running. Well, painting. I met up with the Cornwall Four (including me, four of us who took Cameron Bennett’s “Inspired by Cornwall” workshop in August) at a new water location in Auburn. I identified it today from a map as Clark Pond:

Clark Pond in Auburn

The scene had everything–almost too much–bridge, the start of fall foliage, water, reflections, lily pads. Yet I added the rock formations on the left; really, they added themselves. The lily pads raft together to form little islands, which may confuse the eye. One of the first lessons that I learned in my first landscape painting experience, from Stanley Moeller in 2005, had to do with water lilies. He told me to underline them with “black” (darkest of pigment, which was not necessarily black) to indicate the shadow they cast upon the water. I couldn’t see but the thinnest of shadows, but he said “Trust me” and I did. And do. Still heeding his advice, I added the most delicate and unobtrusive of shadows under my pads. This painting came under critical review by Peter Clive last Monday at MAA and when I am more of myself, I will be making some perfecting changes–playing down the reflections of tree trunks in the water; playing up the light on the rocks and bridge; settling down the water on the other side of the bridge, which doesn’t recede like it should.

The next day being Tuesday, I did a figurative of new model (to us) Michael, but I don’t like it, so I’m not showing it to you. Wednesday, I was back to Clark Pond:

Clark Pond in Auburn

What a difference two days made! We have liftoff! (Fall foliage is a Big Deal here, where tourists flock jus to stare at our trees. How strange is that?)

Margaret

I wasn’t feeling too great last Tuesday, when I painted this new figurative featuring Margaret. I get a lot of kidding about how fast I paint, so Tuesday, someone commented that I wasn’t going as fast as usual. I felt that too, and hoped the slowing down was for the better. I concentrated on the flesh tones, trying to get them just so, a la Steve Assael. Now I’m wondering if it was just the UTI manifesting itself in sluggish behavior.

Friday morning we got together in the back of East Colony Fine Art Gallery to try it out as a location for figure study. The podium is quite high since it started life as a work table. The lighting is abominable since it consists of fluorescents over a worktable. But there was room enough for my core group of artists, and plenty of easels. Along with Margaret posing nude, my daughter Nancy posed clothed. Nancy was “shadowing” Margaret to see if modeling is something she could do. Naturally, I chose to paint Nancy:

My Daughter Nancy

Another plaid shirt. She has my mother’s admirably straight nose. We had the fluorescents off and a small spotlight on our models.

That night, of course, was the night of the ER, and I have been recovering ever since. Now that I know what symptoms I should have noticed before, I am noticing them, but my fatigue should never have been overlookable. I suspect the paroxysms of shivering took a lot out of me. On the bright side, the back pain I have been putting up with for weeks has subsided–not arthritis after all!

Bottom line, I have been shirking all but the most imperative of duties. One of those duties: I took upon myself a viewing of “Gravity” 3D on the iMax screen. I heard it should not be viewed any other way, and I was worried I would miss out if I didn’t act today. I can now report that the advice was justified, and worth the prioritizing.

The rest of this week will be taken up with Tuesday Life Group, trip to Boston to collect my painting at the Arboretum, and bridge–all on Tuesday, Adrienne’s Fall Figure Marathon all day Wednesday, docent training at the Currier and my Triple E class with Patrick, Thursday, then a drive to Bartlett for the 3-day Fall Artists’ Getaway Weekend. Glad I found out what ails me before all that went down!

Aline Lotter is currently exhibiting:

Have Brush, Will Paint

Posted by Aline on September 24, 2013

I haven’t gone far, but I did go, and that’s got to count for something. Or against something. Sometimes I worry that I am not painting enough stuff near my home. If I don’t do that, who will? I think of Van Gogh, Cezanne, and how they practically documented their surroundings. Both of them were certainly obsessive and almost manic. I wonder if that is what it takes.

First up is Wolfeboro. I participated in the Paint the Town event last year, painted two paintings and sold one. This year I spent all my time (I think they gave us less time) on a single painting and did a pretty good job on it.

Back Channel in Wolfeboro

But it didn’t sell. The blue building houses a hardware store. Even a painting of a hardware store would be desirable if it were painted by Van Gogh. I am not Van Gogh. Alas. When will I learn to paint a desirable subject?

For IPAP weekend, (IPAP stands for International Plein Air Painters, I believe), I started out well, subject-wise. This is the entrance to Beech Hill Farm, a good place to go for ice cream and other neat things tangentially related to farming. Pigs and sheep are present for the viewing as well.

Beech Hill Farm near Hopkinton, NH

I’m thinking of calling this “Portrait of the Artist’s Automobile”. Yes, it kind of ruins the picture for anyone whose car it is not, but I’m perverse that way. It being my car, I could have moved it, but I deliberately chose to include it. Please take note of the rain puddles too. It did rain, and I did persevere without pause.

Day Two of IPAP weekend was Saturday, and I could not give up my attendance at Saturday Life Group, so I arrived quite late at Wagon Hill Farm, in Durham. This Farm is conservation property, with beautiful rolling hills and a few antique wagons to provide some farming flavor. I saw no evidence of active farming. Indeed, I hardly ventured into the property before I unloaded and set up my gear with nothing but a rolling hill to inspire me.

Wagon Hill Farm in Durham NH

I like it.

Day Three we drove out of New Hampshire to Acton, Massachusetts, to the home of one of our members. “Home” does not quite describe the property. I did not even see her actual home. What I saw was old growth woods with one log cabin in decent shape and one tumbledown shack, with chairs sprinkled about, all on a big pond, large enough to be called a lake. I found a chair in front of the log cabin and painted two paintings from that spot. Next time I’m going for an area inhabited by lily pads.

Isabelle’s Rock, Acton Massachusetts

‘Belle really liked this one because she has herself painted that rock many times (like a mini version of Cezanne’s many paintings of Mont Victoire) and she felt I really captured it.

Isabelle’s yellow-orange kayak

In the title to this piece, I specified the dual colors of the kayak to make sure the viewer didn’t think I was confused. Getting that kayak right was challenging. Trees and rocks are so much more forgiving, but man-made objects have to be spot on. I am pleased with the shine of sunlight hitting the kayak but unhappy with the shadows cast by the tree branches. To me, the shadows look built in, part of the kayak’s surface. Note the lanterns hanging from the tree limbs. Windsocks and other whimsies decorated the property. She also served snacks!

In terms of bathroom facilities, always an important factor for us girls, Beech Hill gets the blue ribbon with real rest rooms. Wagon Hill had a portapotty in the parking lot. Nyala (that’s what Belle calls her woodland estate) boasted something else, I’m not sure what exactly, but I rank it under the portapotty. Still, better than going in the woods, which I have, on occasion, been forced to do.

In addition to the above official NH Plein Air events, I have been sneaking around with several of my classmates from the Cameron Bennett workshop. Four of us have been meeting up to paint on Massabesic Lake and at the Griffin Mill Pond and Dam in Auburn. One of the best paintings I ever painted was done at Griffin Mill Dam, years ago. I tried to duplicate that success.

Griffin Mill Dam 2 (12×16)

It didn’t happen. In some ways, this is the better painting technically, in that the individual elements are more expertly done; but the whole doesn’t jell for me. I realize now that I was not in the exact same spot, because this time I plunked myself down without a second thought right in the middle of a bridge. When I painted the earlier painting, I wasn’t so bold. Ah, age brings with it a certain devil-may-care attitude. That’s because Life IS Short now. Here’s the original:

Griffin Park dam (8×10)

Isn’t it lovely?

Here’s another from the Griffin Hill Dam, this time looking straight across to the barn up the hillside. That’s right, all buildings in New Hampshire are related in some way to farming.

Griffin Mill Dam 3

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 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 Manchester office of Congresswoman Carol Shea Porter; at the Boston Arboretum Visitor Center, 25 Arborway, Boston; and at her studio by appointment.

A Cloudy Day on Top of Cannon Mountain

Posted by Aline on July 22, 2013

Cannon Mountain is a ski mountain, owned and operated by the State of New Hampshire as a State Park. During the summer, one of the ski lifts, a tramway, takes tourists up to the top–and down again–to enjoy the view from the top and the sights along the way. Today I was lucky to be on the tram that passed over mama bear, grazing in the path of the tram. Ordinarily the views both from the tram and the top are of distant mountains in Maine, Vermont, Northern New Hampshire, and Canada. Today, those views were momentarily available on my ride down. Down, after enduring the wind and chill of the summit, trying to make a painting. Good thing I don’t really like to paint long-view vistas, because the only objects visible were those located within 100 yards.

For photos of what it could look like from the top of Cannon Mountain, check out the website here.

For how it looked today before the clouds completely enveloped the summit:

Housing for a Cannon ski lift (or, what I could see before clouds completely socked in)

I tried another painting when I got back down to parking lot level, but really dark and threatening clouds came rolling in our direction and we hied it out of there. We drove over to Crawford Notch prospecting for sunlight, stopped by the Bartlett Inn to make sure our October Artists Weekend reservations were in, and, failing to discover any better weather, ate our way home. (Stopped for supper at the Yankee Smokehouse in Ossipee and for ice cream at Morrisey’s in Wolfsboro.)

Most of last week I spent laboring, still laboring, in the effort to whip my files at the law office into submission. On Friday, however, I took a break to attend my portrait class with Dee Riley, and produced this drawing of new model, Dennis.

Portrait of Dennis in charcoal

I did not think (and neither did Deirdre) until today that his ear looks awfully small. Maybe he has small ears. The class will be spending two more sessions on this pose. I will miss the next two classes because this Friday I will be in Maine for the Castine Plein Air Festival, and next Friday I will be at a plein air with figure workshop with Cameron Bennett.

Cameron taught portrait drawing and painting at the NH Institute of Art before moving to England last year. He is offering this workshop at short notice to coincide with his visit back home to New Hampshire. Most of his old (previous, some also like me, old) students are excitedly looking forward to seeing him again, getting the scoop on practicing art in England, and sopping up all the learning he acquired in the byways of Cornwall, because the title of the workshop is “Inspired by Cornwall”.

As we are already nearing the end of July, let me alert you to Trolley Night coming up on August 1. Trolley Night, a/k/a Open Doors, consists of trolleys providing free transport between the art venues of Manchester, starting with Langer Place, where East Colony Fine Art Gallery is located. Trolley Night in Manchester used to happen four times a year, then it was three times a year. Now, only twice. So don’t pass this one up. The East Colony Gallery puts on a special show just for Trolley Night, in addition to the regular exhibit: Picnic! is the theme of the special show. So come Thursday, August 1, between 5 and 8. The food is great, the people welcoming, and the art fantastic.

If you have voted in the Currier poster contest at my behest, thank you (whether you voted “correctly” or not). If you have not done that yet, here is the link to the Museum’s home page: Currier. Look there for the link to the poster contest. This may work better for those of you who had trouble with my link to the contest site.

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 Kimball-Jenkins Gallery in Concord, NH; at the Bedford Library in Bedford; 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 hanging in the Manchester office of Congresswoman Carol Shea Porter.

The White Mountains of New Hampshire

Posted by Aline on May 20, 2013

New Hampshire has a Seacoast region, a Lakes region, and countless quaint farms and towns, but to the rest of the world, New Hampshire means but one thing: the White Mountains. They do rather stand out, compared to all those other things. I believe “white” comes from the glimpse that early seafarers got of them, when covered by snow. Or perhaps it was the sun glinting off the granite.

In any event, they became the subject of many 19th century paintings. Champney, Bierstadt, and dozens of others explored and painted the Whites. For a complete rundown, go to White Mountain Art. Right now there are two major exhibits of White Mountain paintings, one in Jackson and another in Plymouth. The former we have visited twice before. The latter is housed in a brand new Museum of the White Mountains on the campus of Plymouth State College. We stopped there to check it out on our way to Bartlett last Thursday. We came away with a map showing the coordinates of several locations, that is, the coordinates to the spot where the painter stood to paint or make his sketch (probably not many of the paintings were painted outdoors). My painting buddy, Sharon, aspires to paint like the Old Masters, and her enthusiasm led her to download a GPS app to her smartphone, and led both of us over hill and dale in search of the right spots. It was fun. Unfortunately, progress or tree growth interfered with many replications.

My plein air painting No. 1 is a covered bridge not far from Plymouth.

Smith Millenium Bridge

Friday, we got in two painting segments: the first was in the strawberry fields below Cathedral Ledge.

Strawberry Fields (Cathedral Ledge) (No.2)

Usually, my first painting is my best, I think because the inspirational tug is strongest with the first try. If you don’t count the covered bridge–it was on the way into the mountains, not quite there yet–this is the first. And it could be the best. But there are four more, and you might like one of them better.

Friday afternoon we went on our first expedition in search of Old Master painting spot: Mt. Adams as captured by Champney. The actual spot was right in the middle of the Auto Road up Mt. Washington, but we found a better one off to the side.

Mt. Adams (No. 3)

Mount-Adams-Benjamin-Champney-1852-24-x-30-inches

The snow-streaked mountain in the background of my painting is Mt. Jefferson, and on the far left is the beginning of Mt. Washington, which is a sprawling kind of mountain, lumping its way to the highest point in the Northeast. (Last January I had painted a view of this lumpy part of Mt. Washington on that misery-filled plein air weekend.)

Saturday we found our own spots. The day before, on our way back to the Bartlett Inn from the Mt. Adams spot, a stream near the highway had caught our eye and so the next morning we went in search of it. Sharon sometimes ends up in my paintings, and I was particularly glad of the added interest her hat brought to the scene.

Roadside Painter (No. 4)

After a while, the noise of the traffic hurtling by next to us faded from consciousness and all we heard was the gurgling water.

In the afternoon, Sharon introduced me to Echo Lake, at the foot of White Horse Ledge. It was an idyllic spot. Sandy beach, picnic benched (excellent to paint from–you can really spread out your stuff), lively visitors (and I don’t mean the black flies)–one of whom demonstrated the echo for the rest of us.

White Horse Ledge over Echo Lake (No. 5)

My painting had at one point a much more literal depiction of the ledge, but its very literalness bothered me, so I loaded up my palette knife and spread paint liberally. Perhaps something in between would have worked better. Supposedly there is an image of a horse, whitish maybe, delineated in the cracks of this ledge, but I sure couldn’t see it and I wasn’t about to fake it either.

Sunday was a travel day, but we did get in one painting late in the day before heading back South. It was the product of another Champney search, this time in Sugar Hill. Mt. Lafayette is on the left and Cannon is on the right. Personally, I would call it another view of Franconia Notch.

I’d say this is about half done. The dark clouds arrived, threatening rain, before I even touched the sky. The sky had been a dull gray before that anyway. Cannon is a ski mountain, and I’m not sure I want to put the ski trails in. But why not? I don’t know. View is from Lovers Lane, in Sugar Hill.

All of my paintings on this trip were 9×12, except Roadside Painter which was 10×12. I figured I was out of plein air practice, and the smaller format would help me finish paintings. That was correct. Perhaps smaller will mean more salable too. Eventually, I plan to take them back to hang in Bartlett Inn.

Or I may take them to the Beacon Hill Art Walk on June 2. I am trying to decide whether to take only figurative works, only landscapes, or the best of both. I’m sharing a tent with Bruce Jones, who does beautiful work in the style of Don Stone. I’m not sure I want mine compared to his.

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 Stella Blu , an American Tapas restaurant in Nashua; at her law offices 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. Through May 30, nine of her Boston Arboretum paintings will be displayed at the Leach Library in Londonderry, NH. On Sunday, June 2, she will be participating in the Beacon Hill Art Walk, in Boston.

Frozen Moments

Posted by Aline on January 28, 2013

My boots were duck hunter’s boots, so wide and thick that I have a hard time climbing stairs in them. I wore four layers on my legs, four on my torso, three on my arms and hands, two on my head, plus a scarf to wrap around my face. My equipment held up well, creaking a little bit but not refusing to lock and unlock. My brushes were frozen but not brittle enough to break. My Gamsol did not turn into jelly in subzero temperatures like my Turpenoid did two years ago. Nevertheless, painting plein air this past weekend in the North Country was a fool’s enterprise.

My biggest surprise was my paint. I made the mistake of leaving it outside overnight. Freezing oil paint is a good way to prevent the large gobs of untubed paint from drying out; it does not damage the paint. But my paint never had a chance to unfreeze before I set out to paint that first crisp morning. (“Crisp” is such an understatement that it is funny–temps were around minus 14 with strong winds adding emphasis.) Once I got my brushes working, I could only poke at the paint and smear it around a little. (Sharon reported that she couldn’t even make a dent in her yellow with a palette knife.) Meanwhile, my face was so covered up that I couldn’t really see what I was doing, and gusts of wind (which fortunately you do hear coming) would periodically force me to hang onto the equipment and endure sprays of snow until the wind died down. I lasted about 20 minutes not counting set up and break down time. Sharon soldiered on for about another ten minutes. [Sharon Allen is the leader of the NH Plein Air painters group, and for the weekend, my chauffeur and guide.] Below are photos of the spot we were painting and our two attempts.

Mt. Washington from Rte 302

Heroic Effort (Sharon’s)

Heroic Effort (Aline’s)

Just for comparison, here is a painting I did in the fall, after a snowfall on the mountains, from the same spot.

Mt. Wash. from 302

Somewhat wiser after lunch, we sought out a sheltered spot for our next attempt. Nothing like an indoor viewing point for sheltering from wind, so we drove up to the Glen House, across from the Mt. Washington Auto Road, and obtained permission to set up in a corner of the restaurant. Sharon painted the view to the north while mine was southwest.

Plein air? Not.

Glen House Painters

In my view is Mt. Washington, but a shoulder obscures the top, so no buildings are visible. It’s the hump toward the left side of my panel. Route 16 runs through the painting but I decided to leave it vague.

Indoor painting of Mt. Washington

The next day, Saturday, was a little better. I think the temperature rose to 5 degrees, and the wind had died down. Nevertheless, we got lots of passersby commenting variously on our bravery, determination, and insanity. I was by that time in total agreement. Knocked down a peg or two was I! Below are photos memorializing these efforts.

Artist or Terrorist? (Sharon)

Frozen Stream

This green tinted frozen water was what had fascinated both Sharon and me. We had not realized how hard it is to depict frozen water. I had never learned of any way to signal to the onlooker that, hey, this is frozen water here–not flowing water, not an empty field.

WIP Sharon

Jackson Community Church, looking west

Jackson Community Church looking east

Above was a view we had planned to paint Saturday afternoon, but the wind! I guess we were lucky to get in a halfway decent morning. The church in this photo is the same one I was trying to paint from my location in the parking lot of the Jackson Historical Society, up river and to the right in the photo. You can see the sign on the building in the background behind Sharon’s easel, which is why I didn’t crop her Work In Progress down to just the painting itself. The Jackson Historical Society has a collection of White Mountain Art, including a few by Benjamin Champney. Metcalf, Gerry and Shapleigh were my favorites in that collection. The parking lot was a great place to paint if you don’t mind being interrupted by passersby, and since these passersby were on their way inside to see White Mountain art, they got our full attention.

But we never found a suitable spot to paint that afternoon or Sunday either. Every time we spotted a paintable spot, we would check the flagpoles. The flags kept up the whipping all the way home. We took pictures and persuaded ourselves that in doing so, we were doing artists’ work. We wandered through Conway, Albany, Moultonborough, Meredith (lunched there), Weirs Beach, Alton Bay, Chichester, Northwood, and Nottingham (there we stopped by Jenness Farm to buy goat milk soap and socialize with the goats).

The Friendly Goats of Jenness Farm

So I conclude that to get more use out of my duck hunter’s boots, I must be alert to a good painting day around home and just seize it. Carpe diem! We have a few warmer days coming up this week.

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.

In February, you can also view some of my paintings and drawings at the McGowan Gallery in Concord, NH, and at the Artstream Gallery in Rochester, NH. Receptions for those shows are, respectively, Feb 1, 5-7; and Feb 2, 5-8.

If you happen to be near Orlando, Florida on February 14, 15 or 16, you should go to Nude Nite, a happening at this location: 639 W. Church St. (Blue Freestanding Warehouse just East of I-4). One of my paintings was invited to participate. This one:

Standing Tall

IPAP weekend

Posted by Aline on September 12, 2011

IPAP stands for International Plein Air Painters, and every year in September, IPAP, the organization, calls on the painters to get outside on a particular weekend and paint. Our local organization, the NH Plein Air group, or guys, or whatever, responded to the call. It is our tradition to select three different locations over the weekend (weekend for painters generally includes Friday). So while in other parts of the world, I imagine painters piling up at their glamorous locations, we spread it around New Hampshire.

I participated on the first two days of our event. Friday we painted at Twin Bridge Park in Merrimack. It’s one of those places that you would never notice unless you got out of the car and explored. From the parking lot, you take a trail down toward a baseball field and playground, but then veer off into the woods, and descend farther, following the sound of rushing water, to a trail alongside Baboosic Brook. Due to the recent storms, the Brook was a torrent.

My chosen scene, featuring Sharon Allen behind the tree.

Because of last week’s workshop on layering water, for my second painting I chose this scene:

The water was moving very slowly over the flat rock in the foreground, which just happened to be catching beams of sunlight. The light enables you to see the shapes and shadows formed by the rock’s submerged surface, the ripples catch the blue of the sky, there’s foam, there’s vegetation, there’s unsubmerged rock. There’s not enough time! I had only an hour to work on this painting, so I kept my rendition of this scene abstract:

I like this painting for what it is, but I would like to paint another version from my photograph, to see if I can better capture the effect of the light and seeing-throughness, to coin a phrase. (Probably “transparency” is the synonym, but that word has secondary meanings and who needs that?)

Saturday morning I could not give up the new year’s first meeting of the Saturday Life Group, so I was not at the appointed IPAP location until the afternoon. We painted in the most northerly end of the Amoskeag Millyards in Manchester. Old mills, because of their locations on waterways, near falls, offer a large range of subject matter. It was my idea to paint there, but turnout was disappointing. I guess most plein air painters prefer natural landscapes over the man-made ones. I, on the other hand, even welcome the odd vehicle into my paintings from time to time:

The building in the foreground is occupied by a restaurant (Fratello’s–good Italian fare). All of the buildings in the Millyard have been repurposed of course–there is no milling going on there. In another one of them, at the southern end of the city, is the artist’s studio where we have our figure drawing on Tuesdays.

NEWS FLASH! A new fine art gallery is opening in the arts and cultural neighborhood of Manchester, 70 Lowell Street, just down Lowell Street from the new building of the NH Institute of Art. Called the “Sage Gallery . . . . a Fine Art and Metaphysical Meeting Place” (how quixotic is that!), it is owned and operated by the former director of the Manchester Artists Association Gallery, Janice Donnelly. I have seen the space and it is terrific, and of course the location is also terrific, not to mention the director–yes, also terrific. Yes, I will be exhibiting there. I think the hours are generally 11 to 4. If you can, please stop by and encourage Janice’s courageous venture.

Paintings by Aline

A Painter's Progress

Tag Archives: woods

Catching up–Bartlett Style

Abstracting the Landscape, Part 2

Kickstart

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

Snow Camp 2015

Three Pies on One Finger

Dazed and confused

New Hampshire’s Fall Foliage

Plein air painting in Vermont

Double courses, Double helpings

Garden Magic

Two weeks of earnest painting

Artists’ Getaway Spring 2014

Changing it Up

Smorgasbord of Art

Health Matters, yes it does!

Have Brush, Will Paint

A Cloudy Day on Top of Cannon Mountain

The White Mountains of New Hampshire

Frozen Moments

IPAP weekend

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