tag:blogger.com,1999:blog-71248869236122358432024-03-13T12:45:16.635-07:00Tom Martino Oil PaintingsThe Paintings and thoughts of an ala prima painter on the practical to the pedantic. The focus will be on observation, technique,and philosophy.tom martinohttp://www.blogger.com/profile/07501495032533630603noreply@blogger.comBlogger72125tag:blogger.com,1999:blog-7124886923612235843.post-54904948068114293362018-12-13T14:44:00.000-08:002018-12-13T14:44:03.250-08:00Paintings on View for December 2018 Bernadette Livingston Furniture Gallery at 39 Main Street, East Greenwich, RI, is hosting a three-artist show through the month of December 2018 which includes the remarkable oil paintings of Anne-marie Duboissett, Larry Rubin, and me. In all I have 15 oils in the exhibit. The background of fine and truly grand furniture serves as a fine setting for these painted gems. Come to <strong>the Champagne Reception </strong>this <strong>Saturday (December 15</strong> ) from 5PM to 9! Hope to see you there: and Happy Holidays to all!tom martinohttp://www.blogger.com/profile/07501495032533630603noreply@blogger.com0tag:blogger.com,1999:blog-7124886923612235843.post-65716683274968142972017-08-04T17:50:00.001-07:002017-08-17T09:28:56.541-07:00Painter at Work<div class="separator" style="clear: both; text-align: center;"> <a href="https://lh3.googleusercontent.com/-qwdORJ2Laf4/WYUWYF52XvI/AAAAAAAABAc/vCVFeDNB3hw0hoMT8bRSIvwhSkm79EPHwCHMYCw/s1600/zcamera-20170726_104142.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"> <img border="0" src="https://lh3.googleusercontent.com/-qwdORJ2Laf4/WYUWYF52XvI/AAAAAAAABAc/vCVFeDNB3hw0hoMT8bRSIvwhSkm79EPHwCHMYCw/s640/zcamera-20170726_104142.jpg"> </a> </div><div class="separator" style="clear: both; text-align: center;">Shore Explorations, oil on linen, 11x14</div><div class="separator" style="clear: both; text-align: center;"><br></div><div class="separator" style="clear: both; text-align: center;">The joy of painting at Beavertail is shown here. When the tide allows, one can observe the residents of tidal pools, safe from the pounding breakers.</div>tom martinohttp://www.blogger.com/profile/07501495032533630603noreply@blogger.com1tag:blogger.com,1999:blog-7124886923612235843.post-85328845634475766692017-03-17T10:49:00.001-07:002017-03-17T10:51:09.453-07:00The Missing Post<div class="separator" style="clear: both;"><a href="https://lh3.googleusercontent.com/-JBZQQyijGJc/WMwhtEtGhnI/AAAAAAAAAr4/As-TpspPfpY/s640/blogger-image-1467425911.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://lh3.googleusercontent.com/-JBZQQyijGJc/WMwhtEtGhnI/AAAAAAAAAr4/As-TpspPfpY/s640/blogger-image-1467425911.jpg"></a></div><div class="separator" style="clear: both;"><a href="https://lh3.googleusercontent.com/-bm9dGIVTkQ0/WMwhtqO8kPI/AAAAAAAAAr8/MMLSWTVSL0M/s640/blogger-image-2120844232.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://lh3.googleusercontent.com/-bm9dGIVTkQ0/WMwhtqO8kPI/AAAAAAAAAr8/MMLSWTVSL0M/s640/blogger-image-2120844232.jpg"></a> </div><div class="separator" style="clear: both;"> These are some examples of still-life practice I had done during the depths of winter. Incidentally, I had already composed a post about typical winter practice for this plein air painter, but somehow I guess I hadn't enabled the post to publish. So here's another attempt.</div><div class="separator" style="clear: both;"><div class="separator" style="clear: both;"><a href="https://lh3.googleusercontent.com/-2E7DhiQtxJM/WMwhuHyc0OI/AAAAAAAAAsA/hf7WnHyDMwI/s640/blogger-image-1307136644.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://lh3.googleusercontent.com/-2E7DhiQtxJM/WMwhuHyc0OI/AAAAAAAAAsA/hf7WnHyDMwI/s640/blogger-image-1307136644.jpg"></a></div><div class="separator" style="clear: both;"> A daffodil had popped up outside my door--and later snatched up by a neighbor. So these are from a local florist. I like the pairing of fruit and flowers.</div><div class="separator" style="clear: both;"><br></div><div class="separator" style="clear: both;"> I should add that the still life's and portraits are painted ala Prima--I.e., directly in the space of 2 or 3 hours. I mention this as a "plug" for a course I am about to teach at the South County Art Association in Kingston, RI. The course will explore several fun ways of painting in ala Prima spontaneity.</div><div class="separator" style="clear: both;"><br></div><div class="separator" style="clear: both;"><div class="separator" style="clear: both;"><a href="https://lh3.googleusercontent.com/-6k63BkI3aJQ/WMwhsfWFHLI/AAAAAAAAAr0/HWgtqVsEs6Y/s640/blogger-image-26382238.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://lh3.googleusercontent.com/-6k63BkI3aJQ/WMwhsfWFHLI/AAAAAAAAAr0/HWgtqVsEs6Y/s640/blogger-image-26382238.jpg"></a></div><div class="separator" style="clear: both;"> Portrait Study, oil on illustration board, 16x20</div><div class="separator" style="clear: both;"><br></div><div class="separator" style="clear: both;"> The above portrait was done at Kate Huntington's fabulous portrait group which meets Tuesday's at</div><div class="separator" style="clear: both;">Providence Picture Frame. Such group sessions as well as solitary sessions in which still life is produced allow the artist time and mental space for experimental methods.</div><br></div><br></div>tom martinohttp://www.blogger.com/profile/07501495032533630603noreply@blogger.com0tag:blogger.com,1999:blog-7124886923612235843.post-44600088635428712062016-12-07T14:58:00.001-08:002016-12-07T14:58:05.517-08:00Pre-winter Mix The term "wintry mix" warns us of some adverse travel and painting conditions here in southern New England--enough to keep some painters home-bound, neglecting plein-air skills. Most of us plein-air painters are fortunate, however, to be near groups which allow us to maintain our drawing and painting skill levels.-- allowing us to be ready when outside conditions improve. In particular, there are "open studio" , still life, portrait and figure groups available. One outstanding group I have participated with is that run by the talented Providence-based artist, Kate Huntington now housed at Providence Picture Frame.<div><div class="separator" style="clear: both;"><a href="https://lh3.googleusercontent.com/-SfDfmnmwmv8/WEiT9qkR6KI/AAAAAAAAAqQ/QcnbmGgBZxw/s640/blogger-image--295826988.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://lh3.googleusercontent.com/-SfDfmnmwmv8/WEiT9qkR6KI/AAAAAAAAAqQ/QcnbmGgBZxw/s640/blogger-image--295826988.jpg"></a></div><div class="separator" style="clear: both;"> The Cape Verdean, oil on canvas, 14x18</div><div class="separator" style="clear: both;"><br></div><div class="separator" style="clear: both;"> The portrait above was done at Kate's portrait session which takes place 2-5 P M each Tuesday at</div><div class="separator" style="clear: both;">Providence Picture Frame. The one below is another example of the kind of portrait that can be done in the three hour period:</div><div class="separator" style="clear: both;"><div class="separator" style="clear: both;"><a href="https://lh3.googleusercontent.com/-1WzQRCAyj5E/WEiT8HbW0KI/AAAAAAAAAqI/IiXulaVV3VU/s640/blogger-image--234981102.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://lh3.googleusercontent.com/-1WzQRCAyj5E/WEiT8HbW0KI/AAAAAAAAAqI/IiXulaVV3VU/s640/blogger-image--234981102.jpg"></a></div><div class="separator" style="clear: both;"> Jacob, oil on canvas, 14x18</div><div class="separator" style="clear: both;"><br></div><div class="separator" style="clear: both;"> Another session run by Kate is the Figure Sketching group which meets from 2-5 PM each Thursday at the same place as the Portrait Session. Here's a recent example of one of my figurative studies:</div><div class="separator" style="clear: both;"><div class="separator" style="clear: both;"><a href="https://lh3.googleusercontent.com/-mYpVEk0Vz9w/WEiT8rvjTPI/AAAAAAAAAqM/Mx4Dy2XHBuQ/s640/blogger-image--1117094191.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://lh3.googleusercontent.com/-mYpVEk0Vz9w/WEiT8rvjTPI/AAAAAAAAAqM/Mx4Dy2XHBuQ/s640/blogger-image--1117094191.jpg"></a></div> Charcoal on white paper</div><div class="separator" style="clear: both;"><br></div><div class="separator" style="clear: both;"> Another portrait session of interest is run by Ray Finelli, who teaches portraiture at the Providence Art Club. The charcoal sketch below was done at a session coordinated by Ray at the North Kingstown Senior Center. This session runs weekly, 10 AM-12PM, on Tuesdays.</div><div class="separator" style="clear: both;"><br></div><div class="separator" style="clear: both;"><div class="separator" style="clear: both;"><a href="https://lh3.googleusercontent.com/-kbPbUl44Zh4/WEiT_OOY6YI/AAAAAAAAAqc/zxSD-twkjOQ/s640/blogger-image-1519752009.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://lh3.googleusercontent.com/-kbPbUl44Zh4/WEiT_OOY6YI/AAAAAAAAAqc/zxSD-twkjOQ/s640/blogger-image-1519752009.jpg"></a></div> Richard, charcoal on newsprint</div><div class="separator" style="clear: both;"><br></div><div class="separator" style="clear: both;"> So there is no excuse for the serious plein-air artist. We have plenty of opportunity for practice. The oil sketches shown below were also done over the last week (between bad-weather days!):</div><div class="separator" style="clear: both;"><div class="separator" style="clear: both;"><a href="https://lh3.googleusercontent.com/--GprPQ_c1Bk/WEiT-NUtE9I/AAAAAAAAAqU/JODkTPBzimM/s640/blogger-image-1931885060.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://lh3.googleusercontent.com/--GprPQ_c1Bk/WEiT-NUtE9I/AAAAAAAAAqU/JODkTPBzimM/s640/blogger-image-1931885060.jpg"></a></div> Easton's Beach, oil on linen, 11x14</div><div class="separator" style="clear: both;"><br></div><div class="separator" style="clear: both;"><div class="separator" style="clear: both;"><a href="https://lh3.googleusercontent.com/-zWIUwRoKStg/WEiT-p95A4I/AAAAAAAAAqY/TFc03vC-Pms/s640/blogger-image-383557104.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://lh3.googleusercontent.com/-zWIUwRoKStg/WEiT-p95A4I/AAAAAAAAAqY/TFc03vC-Pms/s640/blogger-image-383557104.jpg"></a></div> The Marsh, oil on linen, 11x14</div><br></div><br></div>tom martinohttp://www.blogger.com/profile/07501495032533630603noreply@blogger.com0tag:blogger.com,1999:blog-7124886923612235843.post-63755256792427727392016-10-06T10:13:00.001-07:002016-10-06T10:13:02.512-07:00Starting Fall<div class="separator" style="clear: both;">:<a href="https://lh3.googleusercontent.com/-PHZy5Tr29G0/V_aGGVh2okI/AAAAAAAAApc/6JzgxUBW7Zs/s640/blogger-image--1774199681.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://lh3.googleusercontent.com/-PHZy5Tr29G0/V_aGGVh2okI/AAAAAAAAApc/6JzgxUBW7Zs/s640/blogger-image--1774199681.jpg"></a></div><div class="separator" style="clear: both;"> Trestle Bridge, Arnold's Neck, oil on canvas, 9x12</div><div class="separator" style="clear: both;"><br></div><div class="separator" style="clear: both;"> This Post intends to introduce various aspects of painting problems and steps towards their solution. Those enrolled in my current course, "Gesture and Color in Impressionist Painting" may benefit from some of the discussion and examples here.</div><div class="separator" style="clear: both;"> The first example is the plein-air sketch above. I have always been fascinated with the view of this trestle bridge which sees the Acela scream over it. The view has considerable interest for me because of the small cove at Arnold's Neck (Warwick, RI) which is most interesting at low tide, when the purplish mud appears and numerous waterfowl gather. In this particular sketch I attempted to resolve issues from many a prior sketch. Some of the problems of the earlier sketches were compositional-- I centered the bridge on the canvas, for example. Most of the others showed a scattered focus among the interesting elements in the outdoor scene before me. Was the painting about the waterfowl, a small white boat docked nearby, a couple of buildings on the shore, the low tide itself, or the bridge itself?. Clearly, I needed to work on the very first phase of plein-air painting: scene selection and simplification. From the painted sketch above, there is still more work to be done. In this case, shaping the muddy areas including puddles to lead the eye more effectively to the area of interest--the bridge. Additionally, the waterfowl can be dispersed in such a way as to again lead the eye.</div><div class="separator" style="clear: both;"> Another approach is to begin a new sketch which de-emphasizes the foreground low tide area. One such approach is the following which produces more of a sky painting:</div><div class="separator" style="clear: both;"><br></div><div class="separator" style="clear: both;"><div class="separator" style="clear: both;"><a href="https://lh3.googleusercontent.com/-mK4xmd5YV1g/V_aGFGMsEjI/AAAAAAAAApY/PfmxN3NQdyM/s640/blogger-image--688587599.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://lh3.googleusercontent.com/-mK4xmd5YV1g/V_aGFGMsEjI/AAAAAAAAApY/PfmxN3NQdyM/s640/blogger-image--688587599.jpg"></a></div> Trestle Bridge at Arnold's Neck, oil on wood, 8x10</div><div class="separator" style="clear: both;"><br></div><div class="separator" style="clear: both;"><br></div><div class="separator" style="clear: both;"> During the past week I decided to do tree studies , a subject that becomes increasingly important as autumn begins and even more so as the transition to winter begins. This first oil sketch, done at Goddard Park in Warwick, RI, had as its stars two trees, one a type of cedar and the one behind it possibly a beech tree:</div><div class="separator" style="clear: both;"><br></div><div class="separator" style="clear: both;"><div class="separator" style="clear: both;"><a href="https://lh3.googleusercontent.com/-SM1DNsBNMDY/V_aGHSHmzPI/AAAAAAAAApg/VZ98OhiB5qc/s640/blogger-image--885256204.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://lh3.googleusercontent.com/-SM1DNsBNMDY/V_aGHSHmzPI/AAAAAAAAApg/VZ98OhiB5qc/s640/blogger-image--885256204.jpg"></a></div> Tree Study, oil on canvas, 11x14</div><div class="separator" style="clear: both;"><br></div><div class="separator" style="clear: both;"> The trees were indeed on a sloping hill. In the grass I suggested a path that wound between the two trees. The path was an afterthought, an answer to the question of how one could turn a study into a painting. I worked this idea into a second sketch done a couple of days ago:</div><div class="separator" style="clear: both;"><br></div><div class="separator" style="clear: both;"><div class="separator" style="clear: both;"><a href="https://lh3.googleusercontent.com/-T4g1IYC35sE/V_aGD_EjRcI/AAAAAAAAApU/TSXh5XGNXZ0/s640/blogger-image-474523872.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://lh3.googleusercontent.com/-T4g1IYC35sE/V_aGD_EjRcI/AAAAAAAAApU/TSXh5XGNXZ0/s640/blogger-image-474523872.jpg"></a></div> Tree Study (no. 2), oil on linen, 8x10</div><div class="separator" style="clear: both;"><br></div><div class="separator" style="clear: both;"> That sketch needs more work in defining middle ground and background elements, but does suggest that this could become an interesting painting with the suggestion of two or three figures in the middle ground.</div><div class="separator" style="clear: both;"><br></div><div class="separator" style="clear: both;"> As a note in technique, both the tree studies were begun with an acrylic underpainting in brown and white to lock in values.</div>tom martinohttp://www.blogger.com/profile/07501495032533630603noreply@blogger.com0tag:blogger.com,1999:blog-7124886923612235843.post-60307431882733863952016-07-14T12:01:00.001-07:002016-07-14T12:01:48.799-07:00Joys of Summer<div class="separator" style="clear: both;"><a href="https://lh3.googleusercontent.com/-Bu1Qg0rulRY/V4fhlU2zIOI/AAAAAAAAAoo/dv5HuKvyCz8/s640/blogger-image--1026355650.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://lh3.googleusercontent.com/-Bu1Qg0rulRY/V4fhlU2zIOI/AAAAAAAAAoo/dv5HuKvyCz8/s640/blogger-image--1026355650.jpg"></a></div><div class="separator" style="clear: both;"> Ft. Wetherill Fjord, oil on canvas, 9x12</div><div class="separator" style="clear: both;"><br></div><div class="separator" style="clear: both;"> The painting of the fjord in Ft. Wetherill was an attempt to outdo my past approaches to the same subject. This time I paid more attention to the gestural lines in the subject and avoided leaving the dry taste of a rocky cliff study. The tree line is played against the suggested cliff rock line. This, of course, is just a first jotting down. You can see the faint intimation of a gull. I may add one or two more to break up harsh lines and add the sparkle of life to this sketch.</div><div class="separator" style="clear: both;"><div class="separator" style="clear: both;"><a href="https://lh3.googleusercontent.com/-RoTGbNmtRcQ/V4fhmYSIYJI/AAAAAAAAAow/mZl7T0_UKbA/s640/blogger-image-1745932986.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://lh3.googleusercontent.com/-RoTGbNmtRcQ/V4fhmYSIYJI/AAAAAAAAAow/mZl7T0_UKbA/s640/blogger-image-1745932986.jpg"></a></div> East Passage, oil on board, 10x10</div><div class="separator" style="clear: both;"><br></div><div class="separator" style="clear: both;"> The painting above (East Passage) is also of a subject I often visit. It shows the view toward Newport from the rocky eastern shore of Beavertail in Jamestown, RI. About 85% of this painting was done plein air and the rest , mainly corrections and some minor enhancements, was completed on the easel indoors. The late afternoon light on this eastern shore does not last long, but is beautifully mellow.</div><div class="separator" style="clear: both;"><div class="separator" style="clear: both;"><a href="https://lh3.googleusercontent.com/-9SlfvCQjO48/V4fhl4i-MNI/AAAAAAAAAos/p4nrnfbPo9A/s640/blogger-image-1274648856.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://lh3.googleusercontent.com/-9SlfvCQjO48/V4fhl4i-MNI/AAAAAAAAAos/p4nrnfbPo9A/s640/blogger-image-1274648856.jpg"></a></div> Second Beach from Sachuest Point, oil on board, 10x10</div><div class="separator" style="clear: both;"><br></div><div class="separator" style="clear: both;"> One of the strangest days on which I have painted, with fog rolling in and out and a dreary sky that let enough light escape to illuminate the beach! I feel I should have had at least two other surfaces available. One for clear conditions and one for obscure conditions! But I was determined to capture that magical first impression in which St. Georges became the ghost of an ancient castle in Scotland!</div><div class="separator" style="clear: both;"><br></div><div class="separator" style="clear: both;"><div class="separator" style="clear: both;"><a href="https://lh3.googleusercontent.com/-NfSwYjG3NWs/V4fhkp5xeGI/AAAAAAAAAok/q_6zrOXwkWI/s640/blogger-image-1939381968.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://lh3.googleusercontent.com/-NfSwYjG3NWs/V4fhkp5xeGI/AAAAAAAAAok/q_6zrOXwkWI/s640/blogger-image-1939381968.jpg"></a></div> At Belleville Pond, oil on wood, 10x10</div><div class="separator" style="clear: both;"><br></div><div class="separator" style="clear: both;"> This pond in North Kingstown is rich in its summer finery of water lily and blossoms. Moreover, the afternoon light allowed the shade of a tree on the bank to contribute to foreground interest.</div><div class="separator" style="clear: both;"><div class="separator" style="clear: both;"><a href="https://lh3.googleusercontent.com/-Kanr-yJigt8/V4fhmzqWa3I/AAAAAAAAAo0/7ZzIFYXRqGM/s640/blogger-image--1006610415.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://lh3.googleusercontent.com/-Kanr-yJigt8/V4fhmzqWa3I/AAAAAAAAAo0/7ZzIFYXRqGM/s640/blogger-image--1006610415.jpg"></a></div> Pond by the Great Swamp, oil on wood, 10x10</div><div class="separator" style="clear: both;"><br></div><div class="separator" style="clear: both;"> The pond painting above was sketched in an area bordering Kingston and Wakefield, RI. The day was cloudy and dreary, but I was attracted by the cattails and spare color. To me a summer pond is no less beautiful on a cloudy day than on a sunny one!</div><div class="separator" style="clear: both;"><br></div><div class="separator" style="clear: both;"> The above paintings may appear at "Art Al Fresco", an art festival run by the Bristol Art Museum. Small artworks will be hung along the fence at Linden Place, July 31(Sunday), 10AM- 5PM. See you there?</div><div class="separator" style="clear: both;"><br></div>tom martinohttp://www.blogger.com/profile/07501495032533630603noreply@blogger.com0tag:blogger.com,1999:blog-7124886923612235843.post-89150214352911547632016-02-06T09:51:00.001-08:002016-02-06T09:51:08.771-08:00Midwinter Melange When the weather turns seasonably cold, I tend to work (plein air) earlier in the afternoon, although I still prefer the more mellow light of late afternoon. Less hardy than I used to be, I limit my exposure to the cold air. One advantage to this self-pampering is that I must work faster--and "work" to an oil painter includes observation as well as mark-making with a brush or palette knife. Yes, I occasionally bring my iPad along to record the selected subject, but the inspiration is often suggested by less colorful media such as pencil or even pen and ink. As mentioned in other posts, I also paint portraits as well as till life oil sketches. Below are some images of recent work. Again, I realize these sketches demand more finish--another possible winter project!<div><div class="separator" style="clear: both;"><a href="https://lh3.googleusercontent.com/-O2a1MLdPWrg/VrYyh4f_sjI/AAAAAAAAAn4/bFKBT78M6vc/s640/blogger-image-1458608780.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://lh3.googleusercontent.com/-O2a1MLdPWrg/VrYyh4f_sjI/AAAAAAAAAn4/bFKBT78M6vc/s640/blogger-image-1458608780.jpg"></a></div> Wickford/February, oil on wood, 9x12</div><div><br></div><div> <div class="separator" style="clear: both;"><a href="https://lh3.googleusercontent.com/-qF7Qms6_u4o/VrYyiob-d8I/AAAAAAAAAn8/QkUnNBRVc_I/s640/blogger-image--1715289420.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://lh3.googleusercontent.com/-qF7Qms6_u4o/VrYyiob-d8I/AAAAAAAAAn8/QkUnNBRVc_I/s640/blogger-image--1715289420.jpg"></a></div><div class="separator" style="clear: both;"> Teapot and Orange, oil on canvas, 9x12</div><div class="separator" style="clear: both;"><br></div><div class="separator" style="clear: both;"><br></div><div class="separator" style="clear: both;"><div class="separator" style="clear: both;"><a href="https://lh3.googleusercontent.com/-pV5r7vq1NBQ/VrYyhIT690I/AAAAAAAAAn0/mL_swnKu6ic/s640/blogger-image--819627435.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://lh3.googleusercontent.com/-pV5r7vq1NBQ/VrYyhIT690I/AAAAAAAAAn0/mL_swnKu6ic/s640/blogger-image--819627435.jpg"></a></div><div class="separator" style="clear: both;"> Wickford Harbor/January, oil on bookbinder board, 9x15</div><div class="separator" style="clear: both;"><a href="https://lh3.googleusercontent.com/-keZzKV7g23w/VrYyf8RgLwI/AAAAAAAAAnw/uTtxxhq6HfY/s640/blogger-image--760192122.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://lh3.googleusercontent.com/-keZzKV7g23w/VrYyf8RgLwI/AAAAAAAAAnw/uTtxxhq6HfY/s640/blogger-image--760192122.jpg"></a></div> Marsh at Bissel's Cove, oil on wood, 11x14</div></div>tom martinohttp://www.blogger.com/profile/07501495032533630603noreply@blogger.com0tag:blogger.com,1999:blog-7124886923612235843.post-84348701655667894122015-11-30T21:07:00.001-08:002015-11-30T21:07:03.218-08:00Impressionist Color Study Studying color is, of course, much easier during mid rather than late autumn, and painting what you see can be a joy. Here are two studies completed on two different days --one cloudy and one sunny. My purpose here was to perceive and paint color as influenced by the ambient light key:<div><br></div><div><div class="separator" style="clear: both;"><a href="https://lh3.googleusercontent.com/-bSDt8V1yLiw/Vl0q760R8DI/AAAAAAAAAmA/ZkODxXU6uTc/s640/blogger-image-1748692928.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://lh3.googleusercontent.com/-bSDt8V1yLiw/Vl0q760R8DI/AAAAAAAAAmA/ZkODxXU6uTc/s640/blogger-image-1748692928.jpg"></a></div> Cloudy day near sundown, oil on bookbinder board, 11x15(appr)</div><div><br></div><div><div class="separator" style="clear: both;"><a href="https://lh3.googleusercontent.com/-ZgH6kFWtam4/Vl0q59QqzBI/AAAAAAAAAl0/5rLMUxEdWNg/s640/blogger-image--1385207393.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://lh3.googleusercontent.com/-ZgH6kFWtam4/Vl0q59QqzBI/AAAAAAAAAl0/5rLMUxEdWNg/s640/blogger-image--1385207393.jpg"></a></div> Near Sundown (sunny day), oil on bookbinder board, 9x15 (appr)</div><div><br></div><div>The paintings above were done at a local Audubon sanctuary in early November. I was not disturbed by anyone walking the path and I was able to simplify the scene in order to observe color and temperature changes more closely. The area itself was a lowland with not many trees in the marshy field.</div><div><br></div><div> The following oil sketch, again essentially a color study, hangs now at Spring Bull Gallery in Newport as part of the Gallery's Little Picture Show:</div><div><br></div><div><div class="separator" style="clear: both;"><a href="https://lh3.googleusercontent.com/-_I6Ss-IScjA/Vl0q7ciNW2I/AAAAAAAAAl8/ML6SNaGPJy8/s640/blogger-image-763966008.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://lh3.googleusercontent.com/-_I6Ss-IScjA/Vl0q7ciNW2I/AAAAAAAAAl8/ML6SNaGPJy8/s640/blogger-image-763966008.jpg"></a></div> Beavertail Light, oil on Masonite, 8x10</div><div><br></div><div> Beavertail is a painter's paradise, especially when the light is consistent, as it was on this November day. Another subject which is always appealing, even when the colorful leaves are sparse, are the houses of Wickford. Here are two basically color studies done within the last two weeks of November:</div><div><br></div><div><div class="separator" style="clear: both;"><a href="https://lh3.googleusercontent.com/-L6t8Qkb0PQ0/Vl0q6obnBzI/AAAAAAAAAl4/ScMImJ-pNZY/s640/blogger-image--1507760596.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://lh3.googleusercontent.com/-L6t8Qkb0PQ0/Vl0q6obnBzI/AAAAAAAAAl4/ScMImJ-pNZY/s640/blogger-image--1507760596.jpg"></a></div> The Red House, oil on wood, 11x14</div><div><br></div><div><div class="separator" style="clear: both;"><a href="https://lh3.googleusercontent.com/-g2zmqWw6MsY/Vl0q8raKugI/AAAAAAAAAmI/iWgphcY0tIs/s640/blogger-image--1953981923.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://lh3.googleusercontent.com/-g2zmqWw6MsY/Vl0q8raKugI/AAAAAAAAAmI/iWgphcY0tIs/s640/blogger-image--1953981923.jpg"></a></div> A Quiet Corner, oil on wood, 11x14</div><div><br></div><div>Both these houses encouraged bold paint handling, enabling me to push the chroma in impressionist fashion. In this last painting forms seem on the verge of dissipating. The stone bench and nearby path are near the corner of a small graveyard adjoining Narragansett Church. It was this light of late afternoon that was the challenge to capture.</div><div><br></div><div> Finally, last week I was curious to see where this paint handling would lead in portraiture. I had the opportunity to find out at the senior portrait session given at the NK Senior Center:</div><div><br></div><div><div class="separator" style="clear: both;"><a href="https://lh3.googleusercontent.com/-U2UwLTtaHt4/Vl0q9aUKQeI/AAAAAAAAAmM/wfbKIyo7Awc/s640/blogger-image-781317139.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://lh3.googleusercontent.com/-U2UwLTtaHt4/Vl0q9aUKQeI/AAAAAAAAAmM/wfbKIyo7Awc/s640/blogger-image-781317139.jpg"></a></div> Naomi, oil on bookbinder board, 11x15</div><div><br></div><div>The sketch is a likeness of the model and reveals certain of her personality traits. The spontaneity was aided by the fact that only two hours are allocated in these sessions to capture the likeness of the model. </div>tom martinohttp://www.blogger.com/profile/07501495032533630603noreply@blogger.com0tag:blogger.com,1999:blog-7124886923612235843.post-40965252268100608562015-11-04T07:10:00.001-08:002015-11-04T07:10:03.146-08:00Autumnal Beauty<div>S</div><div><br></div><div><br></div> With my last class (under the sponsorship of the South County Art Association (SCAA)) I had briefly described to my students of Plein air some of the working methods of a few of the post-Monet impressionists. These artists included Hawthorne, H.Hensche, and, more recently, Lois Griffel whose Provincetown workshop I was lucky enough to have attended some years ago. To properly convey their methods, of course, requires the discipline of "block studies" on different light keys. Without the time available to practice this discipline, we could only stress the importance of identifying the light key, establishing the scene as spots of color, color masses of the right temperature -- I.e., at least attempting to establish the "first notes". With second notes, " holding to the masses", use of palette knife was stressed. I hoped to expose these students who were primarily trained in traditional painting approaches to the importance of color observation-- and, basically, that there is a lot more to color than identifying hue.<div><br></div><div> Color is a driving force for me to paint, although most of my work would look out of place in the "Provincetown School". I appreciate that it takes most of a lifetime -- or two!-- to begin seeing sensitively enough the color truths held by the first masses. Here are some practice pieces I attempted to exercise the color sense in specific light keys:</div><div><br></div><div><div class="separator" style="clear: both;"><a href="https://lh3.googleusercontent.com/-2S1NVHC9YAY/VjofuREoSqI/AAAAAAAAAlQ/XqGZVDfeSrw/s640/blogger-image--294379074.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://lh3.googleusercontent.com/-2S1NVHC9YAY/VjofuREoSqI/AAAAAAAAAlQ/XqGZVDfeSrw/s640/blogger-image--294379074.jpg"></a></div> November (Wickford), oil on wood, 8x10</div><div><br></div><div> <div class="separator" style="clear: both;"><a href="https://lh3.googleusercontent.com/-ZavsraKM6aQ/VjofyGjgmpI/AAAAAAAAAlg/yd1p_IJGTJ4/s640/blogger-image-460661279.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://lh3.googleusercontent.com/-ZavsraKM6aQ/VjofyGjgmpI/AAAAAAAAAlg/yd1p_IJGTJ4/s640/blogger-image-460661279.jpg"></a></div><div class="separator" style="clear: both;"> Sheffield Cove (Jamestown), oil on wood, 9x12</div><div class="separator" style="clear: both;"><br></div><div class="separator" style="clear: both;"> <div class="separator" style="clear: both;"><a href="https://lh3.googleusercontent.com/--746PTdQP8Q/VjofwsYW5vI/AAAAAAAAAlY/1vTatpToXw0/s640/blogger-image-687431988.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://lh3.googleusercontent.com/--746PTdQP8Q/VjofwsYW5vI/AAAAAAAAAlY/1vTatpToXw0/s640/blogger-image-687431988.jpg"></a></div><div class="separator" style="clear: both;"> East Greenwich, oil on canvas panel, 11x14</div></div></div>tom martinohttp://www.blogger.com/profile/07501495032533630603noreply@blogger.com0tag:blogger.com,1999:blog-7124886923612235843.post-72321532725303788832015-10-06T21:23:00.001-07:002015-10-06T21:23:46.151-07:00From Summer's Sizzle to Fall's Fizzle Here in southern New England we managed to dodge a hurricane that tracked out to sea. That was a relief to the property owners, but there were some severe rains, spin offs of the storm. When that happens, of course, this Plein air painter turns to indoor subjects -- in particular, still life and portraiture.<div><br></div><div> <div class="separator" style="clear: both;"><a href="https://lh3.googleusercontent.com/-5zQwkqr8LbQ/VhSeTM_W70I/AAAAAAAAAkw/iTvJIMQHLOA/s640/blogger-image-280549883.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://lh3.googleusercontent.com/-5zQwkqr8LbQ/VhSeTM_W70I/AAAAAAAAAkw/iTvJIMQHLOA/s640/blogger-image-280549883.jpg"></a></div><div class="separator" style="clear: both;"> Floral Still Life (study), oil on WC paper, 9x12 (approx.)</div><div class="separator" style="clear: both;"><br></div><div class="separator" style="clear: both;"> The still life shown above is a quick study done on watercolor paper. I find that 300-lb watercolor paper, gessoed with at least one coat of acrylic gesso makes a wonderful and economical surface for an oil sketch. I was interested in just getting practice in drawing, value and color perception. So the concept of this painting was color and light as a statement of form. Also, I was experimenting with a limited studio palette consisting of cad yellow light, quinacridone magenta, ultramarine blue, burnt umber, raw umber, pink ( Rose Julia from Charvin oil paints), and titanium white. The sketch was done in a few hours.</div><div class="separator" style="clear: both;"><br></div><div class="separator" style="clear: both;"><div class="separator" style="clear: both;"><a href="https://lh3.googleusercontent.com/-Hmu5-TmQxD8/VhSeT2Je_TI/AAAAAAAAAk4/Nk0jzofqKLw/s640/blogger-image-355482768.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://lh3.googleusercontent.com/-Hmu5-TmQxD8/VhSeT2Je_TI/AAAAAAAAAk4/Nk0jzofqKLw/s640/blogger-image-355482768.jpg"></a></div> Cape Verdean Woman, oil on canvas, 14x18</div><div class="separator" style="clear: both;"><br></div><div class="separator" style="clear: both;"> The portrait sketch shown above was done at the studio of Kate Huntington. If anyone reading this blog is seriously interested in portraiture, they should consider attending Kate's session running from 7-10 PM on Monday nights. This likeness was captured in two hours since the model arrived late -- and I left a tad early. I'd love to finish this portrait, but not without another sitting by the model. I have found that any attempt at finish without the model present results in a loss of likeness.</div><div class="separator" style="clear: both;"><br></div><div class="separator" style="clear: both;"><div class="separator" style="clear: both;"><a href="https://lh3.googleusercontent.com/-GpgToPDdvqs/VhSeO-sLj1I/AAAAAAAAAkg/_Ti3BK_35no/s640/blogger-image-92299438.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://lh3.googleusercontent.com/-GpgToPDdvqs/VhSeO-sLj1I/AAAAAAAAAkg/_Ti3BK_35no/s640/blogger-image-92299438.jpg"></a></div> Mr. Hoist, oil on canvas panel, 12x16</div><div class="separator" style="clear: both;"><br></div><div class="separator" style="clear: both;">This portrait was done this morning at a local senior center. The gentleman wore a western style shirt and sat against a bland background of stained wood. I converted that background into something that complements the ruddiness of his flesh tones. Incidentally, the location is the North Kingstown Senior Center which is lucky enough to have Prof. Ray Finelli, a retired RISD art instructor as the leader of the Tuesday portrait group which relies on volunteer models. Ray often rewards these volunteers with a portrait sketch. I feel very fortunate in living only about a 20-minute drive from the center to take advantage of the wonderful opportunity to practice portrait sketching skills each Tuesday from 10 AM- 12 PM with a talented group led by Ray.</div><div class="separator" style="clear: both;"><br></div><div class="separator" style="clear: both;"><div class="separator" style="clear: both;"><a href="https://lh3.googleusercontent.com/-f2-TJfoXEIs/VhSeScNj5BI/AAAAAAAAAko/PfiYcXpzWDU/s640/blogger-image-1468056838.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://lh3.googleusercontent.com/-f2-TJfoXEIs/VhSeScNj5BI/AAAAAAAAAko/PfiYcXpzWDU/s640/blogger-image-1468056838.jpg"></a></div> Wickford, oil on denim panel, 9x12</div><div class="separator" style="clear: both;"><br></div><div class="separator" style="clear: both;"> Of course, there are some beautiful fall days too and yesterday was one of them. On the early afternoon I set up my easel at a corner off Bay Street in Wickford Village. I didn't carry the sketch as far as I had intended. I fell prey to one of the hazards of paining in public on village streets. An old acquaintance came by , bringing up stories of what transpired before I became a full-time artist. I found myself tracking off the concentration required for finishing the picture and ended up closing my easel after my friend walked off. Fortunately, I at least carried off the essence of the village street in this small sketch. Working on the denim panel was also an experiment. It seems to present a grainy appearance despite the fact it had two coats of gesso applied to it.</div><div class="separator" style="clear: both;"><br></div><div class="separator" style="clear: both;"> Wickford Village is tomorrow's destination for the small Plein air group I teach for the South County Art Association. Let's hope for a continuation of this sunny weather!</div><div class="separator" style="clear: both;">.</div></div>tom martinohttp://www.blogger.com/profile/07501495032533630603noreply@blogger.com0tag:blogger.com,1999:blog-7124886923612235843.post-51676991632575072412015-09-17T08:57:00.001-07:002015-09-17T08:57:05.348-07:00The Waning Light of Summer<div><br></div><div class="separator" style="clear: both;"><a href="https://lh3.googleusercontent.com/-pAo8fiz0uzM/VfriywU9BnI/AAAAAAAAAj4/N5Q0iuW236A/s640/blogger-image-667474885.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://lh3.googleusercontent.com/-pAo8fiz0uzM/VfriywU9BnI/AAAAAAAAAj4/N5Q0iuW236A/s640/blogger-image-667474885.jpg"></a></div><div class="separator" style="clear: both;"> Shrinking Lily Pads, oil on denim, 9x12</div><div class="separator" style="clear: both;"><br></div><div class="separator" style="clear: both;"> I sketched the oil above primarily as a color study yesterday. At this pond (Belleville Pond in North Kingstown, RI) one could see the marsh grasses turning from green to gray-green to golden yellow and ochre. I began the painting with three under washes of pale blue, violet blue and a deeper violet blue from top of the canvas to the bottom, respectively. Some rubbing out in selected areas of the wash was done before the addition of a first layer of color. The sun, the source of light was at the upper left in the sky, and as it began its westward journey, more color and value secrets were revealed. I noticed, for example, that the pads became almost translucent at their turned-up ends, allowing in some cases a yellow/orange passage of light. The most hardy swamp blossom was still lovely, one standing tall above the water, but another, seemingly exhausted, was sprawled upon a lily pad. Some buds were like triangles piercing the surface. In the foreground there were very small pads, perhaps children to the larger, more mature pads. Even in this waning summer spectacle, the pond is a joy to paint!</div><div class="separator" style="clear: both;"><br></div><div class="separator" style="clear: both;"><div class="separator" style="clear: both;"><a href="https://lh3.googleusercontent.com/-P_emT8OX8zQ/VfriyCBKgvI/AAAAAAAAAjw/SwvMICqKs3c/s640/blogger-image-772690248.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://lh3.googleusercontent.com/-P_emT8OX8zQ/VfriyCBKgvI/AAAAAAAAAjw/SwvMICqKs3c/s640/blogger-image-772690248.jpg"></a></div> A Gusty sundown, oil on board, 9x12</div><div class="separator" style="clear: both;"><br></div><div class="separator" style="clear: both;"> The painted sketch above was meant to be finished in situ, but the wind --which gusted to about 35 mph or more-- had other ideas. Sunsets at West Ferry in Jamestown usually allow the painting of tranquil scenes. In this case low hanging clouds, ominous and threatening , moved in over the background allowing a rather dramatic strip of light along the horizon and some cloud shadow. In addition the Dutch Island light almost blended in mysteriously with the background. All these elements must be quickly put down since the light changes rapidly toward the end of day. But in the bursts of wind I had to use one hand to steady the easel. So now the painting rests on my studio easel where, hopefully, a Mahl stick can help me toward a steadier finish.</div><div class="separator" style="clear: both;"><br></div><div class="separator" style="clear: both;"><div class="separator" style="clear: both;"><a href="https://lh3.googleusercontent.com/-iZykc38bZZU/VfrixTGpS9I/AAAAAAAAAjo/mQ53p-yn8uM/s640/blogger-image-1667388328.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://lh3.googleusercontent.com/-iZykc38bZZU/VfrixTGpS9I/AAAAAAAAAjo/mQ53p-yn8uM/s640/blogger-image-1667388328.jpg"></a></div> Scarborough View, oil on linen, 9x12</div><div class="separator" style="clear: both;"><br></div><div class="separator" style="clear: both;"> At sScarborough Beach it was a pleasure to attempt the small sketch above. This was again a somewhat experimental piece using a classical palette initially followed immediately with a more colorful version. This method of working is difficult since the under painting is not quite dry when the more vibrant colors are added. If one is careful to avoid too much mixing with the earth-toned underpainting, colorful and yet realistic effects can be achieved.</div><div class="separator" style="clear: both;"><br></div><div class="separator" style="clear: both;"><div class="separator" style="clear: both;"><a href="https://lh3.googleusercontent.com/-Ku50Vitr2y8/Vfrizk56Z-I/AAAAAAAAAkA/30KKvQ3P9D8/s640/blogger-image--1355064032.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://lh3.googleusercontent.com/-Ku50Vitr2y8/Vfrizk56Z-I/AAAAAAAAAkA/30KKvQ3P9D8/s640/blogger-image--1355064032.jpg"></a></div> Fox Hill Salt Marsh, oil on canvas, 9x12</div><div class="separator" style="clear: both;"><br></div><div class="separator" style="clear: both;">Another joy to paint was the late afternoon light at Fox Hill Salt Marsh at Ft. Getty in Jamestown, RI. Here,again, the experimental approach mentioned above was attempted.</div><div class="separator" style="clear: both;"><br></div><div class="separator" style="clear: both;"> The painting sites and approaches described in my series of blogs will be on the menu for a plein-air workshop I will begin conducting next Wednesday (23 Sept, 3-6PM) under the sponsorship of the South County Art Association.</div>tom martinohttp://www.blogger.com/profile/07501495032533630603noreply@blogger.com0tag:blogger.com,1999:blog-7124886923612235843.post-68685459859085271292015-08-18T08:00:00.001-07:002015-08-18T08:00:39.541-07:00The Beauties of Low Tide, As a coastal painter, I find that low tide offers richer possibilities for picture-making as compared to high tide-- unless, of course, other factors, such as an energetic sea, are present.<div><br></div><div><div class="separator" style="clear: both;"><a href="https://lh3.googleusercontent.com/-UVfmjpbt1KM/VdNIkrGlimI/AAAAAAAAAjM/lW32uPeuqfk/s640/blogger-image--1766066516.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://lh3.googleusercontent.com/-UVfmjpbt1KM/VdNIkrGlimI/AAAAAAAAAjM/lW32uPeuqfk/s640/blogger-image--1766066516.jpg"></a> </div> Rocky Neck, oil on linen, 9x12</div><div><br></div><div> The oil sketch above, rough and unfinished as it is, was begun at Rocky Neck, famous for its artist colony, in Gloucester. This old boat has been painted many times by many very good painters, but I find it an ever-fresh subject, particularly at low tide when it sits in a purplish muddy shore. The boat rests in a shadow cast by a nearby building and the waning light of early evening falls gently on the Gloucester harbor background. The painting was a side benefit of travel to Essex to participate in the Essex Paint Out. (Unfortunately, I do not have photos of the two paintings that went up for auction -- and are now gone to happy homes!). Here are some shots of the area:</div><div><br></div><div><div class="separator" style="clear: both;"><a href="https://lh3.googleusercontent.com/-TC9srPuKU-M/VdNIinJ8kMI/AAAAAAAAAi8/-icaeDmydMo/s640/blogger-image--1672017237.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://lh3.googleusercontent.com/-TC9srPuKU-M/VdNIinJ8kMI/AAAAAAAAAi8/-icaeDmydMo/s640/blogger-image--1672017237.jpg"></a></div> Photo taken from the Essex River Motel</div><div><br></div><div><div class="separator" style="clear: both;"><a href="https://lh3.googleusercontent.com/-UvYB159bQVA/VdNIj6KFxCI/AAAAAAAAAjE/eSMPZtIVeD0/s640/blogger-image--2000962092.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://lh3.googleusercontent.com/-UvYB159bQVA/VdNIj6KFxCI/AAAAAAAAAjE/eSMPZtIVeD0/s640/blogger-image--2000962092.jpg"></a></div> Another photo taken from the same bank of the River.</div><div><br></div><div><br></div><div> The area becomes almost a tidal flat during low tide, the mud and its sky reflections becoming both a challenge and a joy to paint. Other exciting painting areas include the surrounding salt marsh.</div><div><br></div><div><br></div><div><br></div><div> Before leaving for this weekend event ( Essex Paint Out and auction), I did manage to get some local practice:</div><div><br></div><div><div class="separator" style="clear: both;"><a href="https://lh3.googleusercontent.com/-C2AL8NZzHk0/VdNIgtVj6cI/AAAAAAAAAis/x6sMkLnLMjQ/s640/blogger-image-1707337504.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://lh3.googleusercontent.com/-C2AL8NZzHk0/VdNIgtVj6cI/AAAAAAAAAis/x6sMkLnLMjQ/s640/blogger-image-1707337504.jpg"></a></div> Near Sunset (Beavertail), oil on birch panel, 8x10</div><div><br></div><div> <div class="separator" style="clear: both;"><a href="https://lh3.googleusercontent.com/-nmJE8AqNRlc/VdNIhudYKlI/AAAAAAAAAi0/vW9ZBRnekMI/s640/blogger-image--1723191290.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://lh3.googleusercontent.com/-nmJE8AqNRlc/VdNIhudYKlI/AAAAAAAAAi0/vW9ZBRnekMI/s640/blogger-image--1723191290.jpg"></a></div><div class="separator" style="clear: both;"> A Beavertail View, oil on wood, 8x10</div></div>tom martinohttp://www.blogger.com/profile/07501495032533630603noreply@blogger.com0tag:blogger.com,1999:blog-7124886923612235843.post-25455950713304135612015-08-06T09:48:00.001-07:002015-08-06T09:48:04.712-07:00More Making Use of Summer<div class="separator" style="clear: both;"><br></div><div class="separator" style="clear: both;"><a href="https://lh3.googleusercontent.com/-wmUg6CV0OTA/VcOPv4nL5CI/AAAAAAAAAh4/S1nTqtfK-Pk/s640/blogger-image-192272372.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://lh3.googleusercontent.com/-wmUg6CV0OTA/VcOPv4nL5CI/AAAAAAAAAh4/S1nTqtfK-Pk/s640/blogger-image-192272372.jpg"></a></div><div class="separator" style="clear: both;"> Reader on the Beach, oil on linen, 12x12</div><div class="separator" style="clear: both;"><br></div><div class="separator" style="clear: both;"> This oil sketch was done plein air just a few days ago. I often travel to Ft. Getty in Jamestown (where I now reside) to capture an impression of this wonderful beach. The beach itself is primarily sandy, but, on one end is this remarkable rock outcropping, complete with passageway through a small arch, through which more water and rocks may be seen. I estimate that another hour on the easel may help in correcting some deficiencies. For example, the foreground plant may be too green. This may be a consequence of my employing an "upgrade" to my usual palette. The palette for this painting and others you see on this post consists of a modified "twentieth century" palette first successfully used by Robert Gamblin.</div><div class="separator" style="clear: both;"><br></div><div class="separator" style="clear: both;"><div class="separator" style="clear: both;"><a href="https://lh3.googleusercontent.com/-TUDPFcNKsx8/VcOPwg5aHhI/AAAAAAAAAiA/2-jH7g1f6N4/s640/blogger-image-435565067.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://lh3.googleusercontent.com/-TUDPFcNKsx8/VcOPwg5aHhI/AAAAAAAAAiA/2-jH7g1f6N4/s640/blogger-image-435565067.jpg"></a></div><div class="separator" style="clear: both;"> Waning Light (Beavertail), oil on linen, 9x12</div><div class="separator" style="clear: both;"><br></div><div class="separator" style="clear: both;"> At the tail end of a hot summer day I often set up on the eastern side of Beavertail Light to study the effects of the last rays of the day. There is a resigned, peaceful mood at this time, despite the mild roar of waves rolling in. Here the support was linen glued to birch panel.</div><div class="separator" style="clear: both;"><br></div><div class="separator" style="clear: both;"> <div class="separator" style="clear: both;"><a href="https://lh3.googleusercontent.com/-2xVChNyhj90/VcOPu5U8prI/AAAAAAAAAhw/bLC5oDDER8U/s640/blogger-image--1612078580.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://lh3.googleusercontent.com/-2xVChNyhj90/VcOPu5U8prI/AAAAAAAAAhw/bLC5oDDER8U/s640/blogger-image--1612078580.jpg"></a></div></div><div class="separator" style="clear: both;"> The Coming Rain, oil on denim, 12x12</div><div class="separator" style="clear: both;"><br></div><div class="separator" style="clear: both;"> As an experiment I used this denim canvas to sketch my picture. The surface, though gessoed, had a coarseness somewhere between burlap and medium grade linen. The rain cloud formed as I got busy laying in the bridge at Colt State Park in Bristol, and ,in fact, I had to rush to the car to save what paint I had on the support! If you have ever attempted to paint under a rain cloud, look up overhead. There in the cloud you will notice veils akin to torn and rippling silk, an awesome but ominous sight. Take cover!</div><div class="separator" style="clear: both;"><br></div><div class="separator" style="clear: both;"> The downpour lasted about half an hour, my Soltek easel getting drenched. The ground was covered with puddles and the light had changed too drastically to continue. The picture here has been worked over on the easel for another half hour.</div><br></div>tom martinohttp://www.blogger.com/profile/07501495032533630603noreply@blogger.com0tag:blogger.com,1999:blog-7124886923612235843.post-67021829780612844052015-06-27T10:48:00.000-07:002015-06-27T10:48:05.258-07:00Just in Time<div class="separator" style="clear: both; text-align: center;">
<a href="http://4.bp.blogspot.com/-SsEg7FiXgU0/VY7TzIwsJhI/AAAAAAAAAgQ/IUGsMVH98eg/s1600/Beavertail%2BLight.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="http://4.bp.blogspot.com/-SsEg7FiXgU0/VY7TzIwsJhI/AAAAAAAAAgQ/IUGsMVH98eg/s320/Beavertail%2BLight.JPG" width="288" /></a></div>
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<i><span style="font-size: x-small;">Beavertail Light, Oil on Board, 8 x 10</span></i></div>
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<span style="font-size: x-small;"> <span style="font-size: small;"> My move to Jamestown came just in time to enjoy the summer season of painting and sketching on this beautiful island. The image above shows a painting I had done during the first two weeks of my arrival. The day was fickle in its light, flirting with cloudiness but not quite overcast</span> </span>. ( A larger painting of a truly overcast day (at nearby Ft. Getty) is currently on display at the Jamestown Town Hall.) The start of summer has been challenging at times for the plein-air painter due to the changeability of the light and at times stiff breezes.</div>
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<i><span style="font-size: x-small;">Beach Roses (Ft. Getty), Oil on Canvas, 16 x 20</span></i></div>
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<i><span style="font-size: x-small;"> </span></i><span style="font-size: x-small;"><span style="font-size: small;">I have always wanted to attempt a kind of outdoor still life, the subject being the beloved sea roses. (These hardy beauties, I learned, are looked upon as a kind of weed in other parts of the world such as on the coast of Holland</span></span><i><span style="font-size: x-small;"> </span></i>.) Well, it seems what I carried back from this beach at Ft. Getty is a landscape featuring beach roses, not an intimate study. I must yet paint a true still life of these roses!</div>
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<a href="http://3.bp.blogspot.com/-GVMVGg8ZR20/VY7X4zHipTI/AAAAAAAAAgo/fhNUdHh6y_U/s1600/Beach%2Bat%2BFt.%2BWetherill.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="247" src="http://3.bp.blogspot.com/-GVMVGg8ZR20/VY7X4zHipTI/AAAAAAAAAgo/fhNUdHh6y_U/s320/Beach%2Bat%2BFt.%2BWetherill.JPG" width="320" /></a></div>
<i><span style="font-size: x-small;"> Beach at Ft. Wetherill, Oil on Canvas, 14 x 18</span></i></div>
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<span style="font-size: x-small;"><span style="font-size: small;"> Note that the last two works shown are larger sizes than my usual smaller oil sketches. Once in a while I think it is good for painters who continually do smaller work to "stretch themselves" and have fun with a bigger canvas or board. The<i> Beach at Ft. Wetherhill</i> shows a wonderful small beach often populated by scuba divers as well as sunbathers. It has this remarkable rock formation with what looks like a small grotto carved into it and always scaled by youthful bathers. No diving is allowed from these rocks, but not everyone heeds the warning. Again, the challenge here was to include the salient elements without allowing the other equally beautiful aspects of the place to intrude upon the focal area.</span></span></div>
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<i><span style="font-size: x-small;"> Trail below the Lighthouse (Beavertail), Oil on Board, 8 x 10</span></i></span></span></div>
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<span style="font-size: x-small;"><span style="font-size: small;"><span style="font-size: x-small;"><span style="font-size: small;"> The oil sketch above is, like most of my outdoor work, slightly unfinished. I looked down upon this trail which was bordered on the left by rocks and on the right by a slope having some threadbare trees filtering the late afternoon light streaming from the right. I had set up on the east side of the island where the shadows ,to me, are more helpful in establishing mood. Most visitors to Beavertail flock to the west side in the late afternoon to watch the often spectacular sunsets.</span></span></span></span></div>
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<a href="http://2.bp.blogspot.com/-WBR-4GhZ4JM/VY7cJtANcqI/AAAAAAAAAhA/TTfp-BPtnfM/s1600/At%2BWheeler%2BBeach.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="236" src="http://2.bp.blogspot.com/-WBR-4GhZ4JM/VY7cJtANcqI/AAAAAAAAAhA/TTfp-BPtnfM/s320/At%2BWheeler%2BBeach.JPG" width="320" /></a></div>
<i><span style="font-size: x-small;">Wheeler Beach, oil on canvas, 14 x 18</span></i></span></span></span></span></div>
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<span style="font-size: x-small;"><span style="font-size: small;"><span style="font-size: x-small;"><span style="font-size: small;"><span style="font-size: x-small;"><span style="font-size: small;"> Off-island, I am at the beaches, particularly in the late afternoon. In the painting above I captured the particular markings of this subject well. In the far-to-middle distance is a breakwater, there are the rocky outcroppings</span></span><i><span style="font-size: x-small;"> </span></i>joining shore to sea, and the lifeguard chair. This painting will receive more attention in the studio, particularly with respect to the rendering of the figures and the life guard chair with resting surfboard. Most of these later elements were in a state of flux-- not only the figures moving as they packed up and left the beach, but also the life guard who went off duty at 6PM-- and took the surfboard with him! I think the sketch did succeed in coloring and atmosphere; indeed, it was a joy to paint.</span></span></span></span></div>
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<a href="http://2.bp.blogspot.com/-3ey72QtE9BI/VY7em9srGuI/AAAAAAAAAhM/dCVC1oNvge0/s1600/Along%2Bthe%2BBank.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="http://2.bp.blogspot.com/-3ey72QtE9BI/VY7em9srGuI/AAAAAAAAAhM/dCVC1oNvge0/s320/Along%2Bthe%2BBank.JPG" width="281" /></a></div>
<i><span style="font-size: x-small;"> Along the bank, oil on board, 8 x 10</span></i><br />
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<span style="font-size: x-small;"><span style="font-size: small;"> Another subject that I love to paint is the growth along ponds. Although the oil sketch above shows the joyful waterlilies in the foreground, the song of the sun continues to the leaves of the green pond plants behind them and the sunlit and dappled large rock before the tree. Again, such subjects--even if they "fail" as paintings -- are foods for the painterly soul.</span></span><br />
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tom martinohttp://www.blogger.com/profile/07501495032533630603noreply@blogger.com0tag:blogger.com,1999:blog-7124886923612235843.post-11975358830259690832015-05-24T13:39:00.001-07:002015-06-27T10:50:56.195-07:00Transitions<div class="separator" style="clear: both;">
<a href="https://lh3.googleusercontent.com/-hF4GiyEjSrE/VWI2-mqmZsI/AAAAAAAAAfc/gUzkOiGiUCs/s640/blogger-image-839567641.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://lh3.googleusercontent.com/-hF4GiyEjSrE/VWI2-mqmZsI/AAAAAAAAAfc/gUzkOiGiUCs/s640/blogger-image-839567641.jpg" /></a>The oil sketch shown here was a bit of a change for this primarily coastal painter. Thanks to the Circle of Six artist Connie Greene, permission to paint at Windmist Farm in Jamestown, RI, was secured. Although the farm is indeed a coastal farm, bordered by a salt marsh with a magnificent view of the bridge to Newport, I was charmed by this gathering of rooster and hens at the foot of a curvaceous tree adorned with a few birdhouses. The sketch, 8x10, was done on gessoed illustration board. This farm certainly challenged the artist's ability to both simplify and select subject and areas of interest.</div>
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Remains of the Day, 11x14, oil on canvas<br />
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In the oil sketch above, although there are figures on the beach, it is the mass of seaweed catching the mellow light of a late afternoon sun that is the actual subject of the painting. Scarborough is a favorite beach for me to paint on, but occasionally I search for a change from the standard beach scape in which the sand and foreground are the least important elements.</div>
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East Greenwich Harbor, oil on board, 8x10<br />
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One of my favorite views of the harbor, the oil sketch above was done in early May. In my recent move to Jamestown, this may be one of my works missing in transit or destroyed. (I will check the contents of my studio in Kingston in which I placed some of my paintings temporarily.) I will revisit this same view in the future and execute another plein-air sketch that may be quite different from this lost painting--and perhaps not as successful!</div>
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At Beavertail, oil on canvas, 9x12<br />
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The plein-air sketch above was done a few days prior to packing up for my move to Jamestown. I think of this piece as a kind of personal celebration, a looking forward to being closer to the motifs. Last Wednesday I painted another Beavertail Rocks scene, but the work was taken by a collector before I could capture its image.</div>
tom martinohttp://www.blogger.com/profile/07501495032533630603noreply@blogger.com0tag:blogger.com,1999:blog-7124886923612235843.post-51681522103237168522015-04-13T13:39:00.001-07:002015-04-13T13:39:08.049-07:00Warming Up The title of this post refers less to the vagaries of our New England weather and more to the artist who must do the preparatory exercises for the upcoming Plein air season. This first painting , an oil sketch of a split cedar tree, was done a couple of weeks ago-- during the start of the welcome spring thaw:<div><div class="separator" style="clear: both;"><a href="https://lh3.googleusercontent.com/-ZuBlqMlwjvM/VSwpWTFx16I/AAAAAAAAAeo/3yXxK8HbSXs/s640/blogger-image-1300367541.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://lh3.googleusercontent.com/-ZuBlqMlwjvM/VSwpWTFx16I/AAAAAAAAAeo/3yXxK8HbSXs/s640/blogger-image-1300367541.jpg"></a></div> The Split Cedar, oil on board, 5x7</div><div> Outings like this during the severe winter were rare for this artist; I salute all those hearty outdoor painters who are impervious to wind and wind chill. The next two paintings were done last Saturday, a breezy but wonderful day to paint, sheltered as I was by some small firs at the edge of the marsh:</div><div><div class="separator" style="clear: both;"><a href="https://lh6.googleusercontent.com/-51Y9wFr2LZg/VSwpYG_RAoI/AAAAAAAAAew/ZgyhcMCkMZs/s640/blogger-image--862260964.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://lh6.googleusercontent.com/-51Y9wFr2LZg/VSwpYG_RAoI/AAAAAAAAAew/ZgyhcMCkMZs/s640/blogger-image--862260964.jpg"></a></div> Edge of the Marsh, oil on canvas, 9x12</div><div><br></div><div> This peaceful marsh adjoins Bissel's Cove, a favorite painting spot of mine. For the second oil sketch I moved my pochade easel a few feet to the east:</div><div><br></div><div><div class="separator" style="clear: both;"><a href="https://lh3.googleusercontent.com/-L5F0e9lgDTU/VSwpVKF6ZUI/AAAAAAAAAeg/svTXL7awrO0/s640/blogger-image--1804731365.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://lh3.googleusercontent.com/-L5F0e9lgDTU/VSwpVKF6ZUI/AAAAAAAAAeg/svTXL7awrO0/s640/blogger-image--1804731365.jpg"></a></div> The fisherman's House, Oil on paper, 8x10</div><div><br></div><div> It is always a delight for me to paint coastal scenes during low tide. Although this scene was flooded with frontal lighting, the underside of the upturned dock provided some contrast. I don't know why the dock looked the way it did; perhaps it was the victim of one of our windy days!</div><div><div class="separator" style="clear: both;"><a href="https://lh3.googleusercontent.com/-dLdTn08s57w/VSwpZEKu-fI/AAAAAAAAAe4/GeOwxtEAOtE/s640/blogger-image--1415717430.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://lh3.googleusercontent.com/-dLdTn08s57w/VSwpZEKu-fI/AAAAAAAAAe4/GeOwxtEAOtE/s640/blogger-image--1415717430.jpg"></a></div> The Birch-lined Trail, oil on canvas, 8x10</div><div><br></div><div>The oil sketch of the trail above was done today. Again, I found shelter among the trees from the wind. Bissel's Cove is just on the other side of the tree line. The attractions here were the birches and sun-dappled path.</div><div><br></div><div><div class="separator" style="clear: both;"><a href="https://lh3.googleusercontent.com/-ukkPpMEBhD4/VSwpaF4aLtI/AAAAAAAAAfA/wZWRMSKa1-0/s640/blogger-image-924138395.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://lh3.googleusercontent.com/-ukkPpMEBhD4/VSwpaF4aLtI/AAAAAAAAAfA/wZWRMSKa1-0/s640/blogger-image-924138395.jpg"></a></div> The Lost Boat, oil on board, 8x10</div><div><br></div><div> The oil sketch here reflected the scene on the other side of the birch-lined trail. There was a small sailboat seemingly abandoned on the opposite shore.</div><div> Obviously most of the oil sketches I do are meant as practice, especially in the seeing and handling of color. Another benefit of painting even hasty sketches like these is that one builds a store of motifs which may be developed into finer expressions in a larger format.</div><div><br></div><div> Perhaps by the next posting I will have sketches showing the signs of spring!</div>tom martinohttp://www.blogger.com/profile/07501495032533630603noreply@blogger.com0tag:blogger.com,1999:blog-7124886923612235843.post-15585874499913303842015-03-12T10:11:00.001-07:002015-03-12T10:11:44.188-07:00Spring Intervention<div class="separator" style="clear: both;"><a href="https://lh3.googleusercontent.com/--YNNFkZOT9w/VQHIu-W2AGI/AAAAAAAAAdk/B7g0ZPnEe8Q/s640/blogger-image--687923295.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://lh3.googleusercontent.com/--YNNFkZOT9w/VQHIu-W2AGI/AAAAAAAAAdk/B7g0ZPnEe8Q/s640/blogger-image--687923295.jpg"></a></div><div class="separator" style="clear: both;"><br></div><div class="separator" style="clear: both;"> The painting shown above, a still life involving roses in a violet glass vase, is typical of this painter's activity during periods of wintry weather. The snowstorms and harsh cold discouraged my attempts at plein-air painting. Still life, however, represents the "etudes" of a painter, a real necessity in keeping observational skills sharp and technique honed. This little sketch, 9x12, accomplished in a few hours, was done on linen. In this setup, I used primarily back- lighting.</div><div class="separator" style="clear: both;"><br></div><div class="separator" style="clear: both;"><div class="separator" style="clear: both;"><a href="https://lh5.googleusercontent.com/-EH0F8Shacug/VQHIxX4uxUI/AAAAAAAAAd8/8_7ivx12XDQ/s640/blogger-image-359275313.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://lh5.googleusercontent.com/-EH0F8Shacug/VQHIxX4uxUI/AAAAAAAAAd8/8_7ivx12XDQ/s640/blogger-image-359275313.jpg"></a> Since the weather, for once, allowed me to</div><div class="separator" style="clear: both;">Travel safely to Providence, I was able to attend Kate Huntington's Portrait session. She managed to get the locally famous Tish Adams, jazz singer and radio show host, to sit for us. The portrait shown here, sketched in little more than two hours, was an oil on board, 16x20. I was pleased with the design, but I think a few corrections are necessary before I consider this a finished portrait. Next Monday I hope to interrupt these wonderful sessions at Kate's studio by showing up for a Figure Drawing session given at the Warwick Art Museum in Apponaug,RI. The Museum offers figure drawing every third Monday of the month for a low $8 fee.</div><div class="separator" style="clear: both;"><br></div><div class="separator" style="clear: both;"><div class="separator" style="clear: both;"><a href="https://lh6.googleusercontent.com/-JN2-F3cBOsY/VQHIwmUiqwI/AAAAAAAAAd0/llYcsoXBDFA/s640/blogger-image--1846641108.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://lh6.googleusercontent.com/-JN2-F3cBOsY/VQHIwmUiqwI/AAAAAAAAAd0/llYcsoXBDFA/s640/blogger-image--1846641108.jpg"></a></div><br></div><div class="separator" style="clear: both;"> The sketch above is a watercolor copy of a scene by John C. Pellew, a painter born in Cornwall, England, but resided in Connecticut. The scene above was based on a scene Pellew painted at Rockport, MA. Turning to watercolor (and pastel) is another strategy I use to avoid the "plein-air Blues". I have even fallen back on sharpening drawing skills. Here's a self-portrait done in charcoal on gray paper heightened with white Conte crayon:</div><div class="separator" style="clear: both;"><br></div><div class="separator" style="clear: both;"><div class="separator" style="clear: both;"><a href="https://lh5.googleusercontent.com/-kKwWaZeIynQ/VQHIzpTZDgI/AAAAAAAAAeM/YjL5TlBrES8/s640/blogger-image--1435108177.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://lh5.googleusercontent.com/-kKwWaZeIynQ/VQHIzpTZDgI/AAAAAAAAAeM/YjL5TlBrES8/s640/blogger-image--1435108177.jpg"></a></div><br></div>One day I was able to get to my Kingston studio on a sunny but bitterly cold day.</div><div class="separator" style="clear: both;">The rear window afforded a rather upbeat snow scene which I hastened to record in oil as the tree shadows lengthened. The 9x12 sketch could seve as the basis of s larger format. The result of my efforts :</div><div class="separator" style="clear: both;"><br></div><div class="separator" style="clear: both;"><div class="separator" style="clear: both;"><a href="https://lh6.googleusercontent.com/-1e34Xmp2FlE/VQHIydmbmII/AAAAAAAAAeE/vLZ1gD5ejEM/s640/blogger-image--1778134476.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://lh6.googleusercontent.com/-1e34Xmp2FlE/VQHIydmbmII/AAAAAAAAAeE/vLZ1gD5ejEM/s640/blogger-image--1778134476.jpg"></a>The road to the house could use a couple of figures, but it was so cold outside, despite the sun, that I didn't have the heart to have even imaginary figures suffer on my canvas!</div><div class="separator" style="clear: both;"><br></div><div class="separator" style="clear: both;"> Today (March 11), the temperature reached 50 degrees (F) and so I leaped outside, traveling to the Hummocks in North Kingstown to rapidly sketch in the 9x12 oil on canvas which upon finishing will be called March Thaw. Although it is not yet officially Spring, today was a kind of intervention by the gentler forces soon to replace this memorable winter.</div><div class="separator" style="clear: both;"><br></div><div class="separator" style="clear: both;"><div class="separator" style="clear: both;"><a href="https://lh3.googleusercontent.com/-dDlqsOo1NaU/VQHIv6He-CI/AAAAAAAAAds/EAOZZvQTXW8/s640/blogger-image--586325738.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://lh3.googleusercontent.com/-dDlqsOo1NaU/VQHIv6He-CI/AAAAAAAAAds/EAOZZvQTXW8/s640/blogger-image--586325738.jpg"></a></div>March Thaw, oil on canvas, 9x12</div><br></div><div class="separator" style="clear: both;"><br></div>tom martinohttp://www.blogger.com/profile/07501495032533630603noreply@blogger.com0tag:blogger.com,1999:blog-7124886923612235843.post-15519458090231217172015-02-19T11:37:00.001-08:002015-02-19T11:37:33.053-08:00Perils of Winter Shows<div class="separator" style="clear: both;"><a href="https://lh3.googleusercontent.com/-XwQ0MWe7tWo/VOY7d_5V_VI/AAAAAAAAAc8/ynkk90s7kEA/s640/blogger-image-2075669033.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://lh3.googleusercontent.com/-XwQ0MWe7tWo/VOY7d_5V_VI/AAAAAAAAAc8/ynkk90s7kEA/s640/blogger-image-2075669033.jpg"></a></div><div class="separator" style="clear: both;"> Kingston Rooftops, oil on linen, 18x24</div><div class="separator" style="clear: both;"><br></div><div class="separator" style="clear: both;"> The image above is that of a painting now hanging at the Bill Krul Gallery in Narragansett. I painted this late afternoon scene before my eastern-side studio window. In s way, I wish I had waited for the roofs to wear some of the snow that has fallen over the last few weeks. That same snow, I fear, has discouraged a number of visitors to the Krul Gallery exhibit.</div><div class="separator" style="clear: both;"><div class="separator" style="clear: both;"><a href="https://lh4.googleusercontent.com/-M4gHNbo8fDA/VOY7dLfpY3I/AAAAAAAAAc0/vMq8FlBUF2o/s640/blogger-image-609287181.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://lh4.googleusercontent.com/-M4gHNbo8fDA/VOY7dLfpY3I/AAAAAAAAAc0/vMq8FlBUF2o/s640/blogger-image-609287181.jpg"></a></div><div class="separator" style="clear: both;"> Early Winter Wickford, o/c, 6x8</div><div class="separator" style="clear: both;"><div class="separator" style="clear: both;"><a href="https://lh4.googleusercontent.com/-Oc53ZAMkhvU/VOY7eh-fOHI/AAAAAAAAAdE/zsPADZ2lwig/s640/blogger-image-1620214603.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://lh4.googleusercontent.com/-Oc53ZAMkhvU/VOY7eh-fOHI/AAAAAAAAAdE/zsPADZ2lwig/s640/blogger-image-1620214603.jpg"></a></div> Kumquats and Lantern Blooms, oil on linen, 16x16</div><div class="separator" style="clear: both;"><br></div><div class="separator" style="clear: both;"> A similar fate awaited my earlier January show (part of an Invitational Show) in the beautiful gallery space of the South County Art Association at the Helme House in Kingston, RI. The Opening was blessed by a cold but clear evening and was well attended. Within a week or two the Real Winter set in with a sequence of days that threatened both travel as well as parking.</div><div class="separator" style="clear: both;"><br></div><div class="separator" style="clear: both;"> I was never keen on winter art exhibits and, perhaps, I will return to my usual hibernation mode next year. If you are an artist, please let me know your opinions and/or experiences regarding January and February shows.</div><div class="separator" style="clear: both;"><br></div><br></div>tom martinohttp://www.blogger.com/profile/07501495032533630603noreply@blogger.com0tag:blogger.com,1999:blog-7124886923612235843.post-26146244200413324552014-12-29T11:47:00.001-08:002014-12-29T11:47:32.800-08:00Training Never Ceases<div class="separator" style="clear: both;"><a href="https://lh3.googleusercontent.com/-x_pAH6Rvwbc/VKGvowdq9XI/AAAAAAAAAcI/ZfLtsTQwUFk/s640/blogger-image-550149424.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://lh3.googleusercontent.com/-x_pAH6Rvwbc/VKGvowdq9XI/AAAAAAAAAcI/ZfLtsTQwUFk/s640/blogger-image-550149424.jpg"></a>C</div><div class="separator" style="clear: both;"> The Hummocks, oil on board, 8x10</div><div class="separator" style="clear: both;"><br></div><div class="separator" style="clear: both;"> This oil sketch, done a couple of days ago in North Kingstown, was done as the sun sank behind the tree and at low tide. The spot is only a mile or two south of Wickford and, even in December , has it's quiet, wild beauty. Such areas are wonderful for training the painter in observation. Such oil sketches provide the kindling for larger studio paintings.</div><div class="separator" style="clear: both;"><div class="separator" style="clear: both;"><div class="separator" style="clear: both;"><a href="https://lh4.googleusercontent.com/-ff6a1hJ_8C0/VKGvg9af0oI/AAAAAAAAAb4/YSGt6poGuHg/s640/blogger-image-2143828954.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://lh4.googleusercontent.com/-ff6a1hJ_8C0/VKGvg9af0oI/AAAAAAAAAb4/YSGt6poGuHg/s640/blogger-image-2143828954.jpg"></a></div><br></div> The Hummocks (no.2) , oil on cardboard, 9x12</div><div class="separator" style="clear: both;"><br></div><div class="separator" style="clear: both;"> The second oil sketch, done at the same location as the first, featured more of the foreground rocks. To the left of center two figures were digging for shellfish. Since the wind was gentle I was able to complete the two sketches in slightly less than two hours.</div><div class="separator" style="clear: both;"><div class="separator" style="clear: both;"><a href="https://lh3.googleusercontent.com/-t4fD_3oIN2A/VKGvkCc15aI/AAAAAAAAAcA/PuNIqMGoj2E/s640/blogger-image-1299251048.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://lh3.googleusercontent.com/-t4fD_3oIN2A/VKGvkCc15aI/AAAAAAAAAcA/PuNIqMGoj2E/s640/blogger-image-1299251048.jpg"></a></div> The Meeting Place(Wickford), oil on board, 8x10</div><div class="separator" style="clear: both;"><br></div><div class="separator" style="clear: both;"> A favorite meeting place for waterfowl is located behind what used to be Ryan's Market. The bite of the breeze allowed me only little more than an hour to complete this sketch.</div><div class="separator" style="clear: both;"><br></div><div class="separator" style="clear: both;"><div class="separator" style="clear: both;"><a href="https://lh4.googleusercontent.com/-_e8UoeHXqy8/VKGvzBlidXI/AAAAAAAAAcQ/Dslk6gJrWcA/s640/blogger-image-1072326918.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://lh4.googleusercontent.com/-_e8UoeHXqy8/VKGvzBlidXI/AAAAAAAAAcQ/Dslk6gJrWcA/s640/blogger-image-1072326918.jpg"></a></div> Butterfly Vase with Yellow Roses, oil on canvas, 13x17</div><div class="separator" style="clear: both;"><div class="separator" style="clear: both;"><a href="https://lh6.googleusercontent.com/-qUj32zi3qs4/VKGvz-K1LUI/AAAAAAAAAcY/H1IxrREqGgg/s640/blogger-image-208399690.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://lh6.googleusercontent.com/-qUj32zi3qs4/VKGvz-K1LUI/AAAAAAAAAcY/H1IxrREqGgg/s640/blogger-image-208399690.jpg"></a></div> Kumquats and Lantern Blooms, oil on canvas, 16x16</div><div class="separator" style="clear: both;"><div class="separator" style="clear: both;"><a href="https://lh5.googleusercontent.com/-KIJ7tSFcMQg/VKGv0qhBCKI/AAAAAAAAAcg/Fdmdvq7oeD8/s640/blogger-image--1082803392.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://lh5.googleusercontent.com/-KIJ7tSFcMQg/VKGv0qhBCKI/AAAAAAAAAcg/Fdmdvq7oeD8/s640/blogger-image--1082803392.jpg"></a></div> The Cowpoke (Jim), oil on board, 14x18</div><div class="separator" style="clear: both;"><br></div><div class="separator" style="clear: both;"> These last three images, two still life's and a portrait, show other painterly activities (done in the last few weeks) designed to keep up painting and drawing skills that tend to be neglected when the outdoor weather starts showing its New England character. Thanks to Kate Huntington Studios, I am able to enjoy painting portraits from her wonderful selection of models on Monday nights. I fancy myself primarily an outdoor (plein air) painter, but such training as portraiture and still life I find absolutely necessary in keeping artistic skills sharp. As we begin a New Year, may we painters resolve to keep proficient in our painterly skill set!</div><div class="separator" style="clear: both;"><br></div>tom martinohttp://www.blogger.com/profile/07501495032533630603noreply@blogger.com0tag:blogger.com,1999:blog-7124886923612235843.post-44758373270130882722014-11-12T11:15:00.001-08:002014-11-12T11:15:46.393-08:00As the Weather Changes<div class="separator" style="clear: both;"><br></div><div class="separator" style="clear: both;"><a href="https://lh4.googleusercontent.com/-RNxv03XsUdU/VGOx2oBWITI/AAAAAAAAAbU/1NcB4LFd8i0/s640/blogger-image-114232807.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://lh4.googleusercontent.com/-RNxv03XsUdU/VGOx2oBWITI/AAAAAAAAAbU/1NcB4LFd8i0/s640/blogger-image-114232807.jpg"></a></div><div class="separator" style="clear: both;"> Teapot and Turnips, Oil on Linen on Board, 11x14 </div><div class="separator" style="clear: both;"><br></div><div class="separator" style="clear: both;"> When the outdoor enviironment becomes more challenging, I turn to the painting of still life and portraiture as a musician practices eludes. With these subjects there is control of lighting and pose. The limitations in the execution are solely those arising from the ability or lack thereof of the artist. Portraiture has the additional advantage of allowing a more obvious two-way communication between subject and artist. As a consequence, poses are reclaimed easier and the artist can pay attention to his own as well as the model's fatigue.</div><div class="separator" style="clear: both;"><br></div><div class="separator" style="clear: both;"><br></div><div class="separator" style="clear: both;"><div class="separator" style="clear: both;"><a href="https://lh6.googleusercontent.com/--6QYqEkPw5c/VGOx4EvenlI/AAAAAAAAAbk/Uzw8epjlbvw/s640/blogger-image-1536811111.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://lh6.googleusercontent.com/--6QYqEkPw5c/VGOx4EvenlI/AAAAAAAAAbk/Uzw8epjlbvw/s640/blogger-image-1536811111.jpg"></a></div>The Impressario, oil on board, 16x20</div><div class="separator" style="clear: both;"><br></div><div class="separator" style="clear: both;"><div class="separator" style="clear: both;"><a href="https://lh5.googleusercontent.com/-4B1wBzgtOrg/VGOx3LQRUnI/AAAAAAAAAbc/r5LPyWwoWoI/s640/blogger-image--451318364.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://lh5.googleusercontent.com/-4B1wBzgtOrg/VGOx3LQRUnI/AAAAAAAAAbc/r5LPyWwoWoI/s640/blogger-image--451318364.jpg"></a></div> Portrait Study, oil on board, 14x18</div><div class="separator" style="clear: both;"><br></div><div class="separator" style="clear: both;"><div class="separator" style="clear: both;"><a href="https://lh5.googleusercontent.com/-R_1LDtNIBSY/VGOx1-h2lUI/AAAAAAAAAbM/ssXTs1w9GnY/s640/blogger-image--1972175284.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://lh5.googleusercontent.com/-R_1LDtNIBSY/VGOx1-h2lUI/AAAAAAAAAbM/ssXTs1w9GnY/s640/blogger-image--1972175284.jpg"></a></div> Still Life: Roses and Apples, oil on canvas, 14x18</div>tom martinohttp://www.blogger.com/profile/07501495032533630603noreply@blogger.com0tag:blogger.com,1999:blog-7124886923612235843.post-92177721325603639262014-10-30T11:29:00.001-07:002014-10-30T11:29:04.171-07:00The Fall Collection The feverish activity of summer plein- air events are now behind us. The Blackstone Valley paint-out was a spectacular one since the weather offered the painter sun-drenched scenes of early autumn beauty. As autumn progresses here I have been active in capturing the dramatic color in my local area.<div class="separator" style="clear: both;"><a href="https://lh4.googleusercontent.com/-YaIMm3w0iDc/VFKDbnDTGnI/AAAAAAAAAa8/1ETlVJ_nK44/s640/blogger-image--729304938.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://lh4.googleusercontent.com/-YaIMm3w0iDc/VFKDbnDTGnI/AAAAAAAAAa8/1ETlVJ_nK44/s640/blogger-image--729304938.jpg"></a></div><div class="separator" style="clear: both;"><br></div><div class="separator" style="clear: both;"> Narragansett Beach View (October), o/c, 12x12</div><div class="separator" style="clear: both;"><br></div><div class="separator" style="clear: both;"> I have also sketched more inland areas to feast on the color afforded by local foliage.<div class="separator" style="clear: both;"><a href="https://lh5.googleusercontent.com/-Z1x0VbDFa4k/VFKDXlyEKkI/AAAAAAAAAas/ndRyMoamvJ4/s640/blogger-image--1117068338.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://lh5.googleusercontent.com/-Z1x0VbDFa4k/VFKDXlyEKkI/AAAAAAAAAas/ndRyMoamvJ4/s640/blogger-image--1117068338.jpg"></a></div><div class="separator" style="clear: both;"><br></div><div class="separator" style="clear: both;"> October Stream, o/c, 12x12</div><div class="separator" style="clear: both;"><br></div><div class="separator" style="clear: both;"><div class="separator" style="clear: both;"><a href="https://lh3.googleusercontent.com/-QioH0hrZYEU/VFKDWmmme2I/AAAAAAAAAak/gqprqXb-ALY/s640/blogger-image--573088685.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://lh3.googleusercontent.com/-QioH0hrZYEU/VFKDWmmme2I/AAAAAAAAAak/gqprqXb-ALY/s640/blogger-image--573088685.jpg"></a></div><div class="separator" style="clear: both;"> October Stream (Morning), o/c, 12x12</div><div class="separator" style="clear: both;"><br></div><div class="separator" style="clear: both;"> Below is a brief sketch I did yesterday in North Kingstown, just south of Wickford Village<div class="separator" style="clear: both;"><a href="https://lh6.googleusercontent.com/-I8A1DfJj744/VFKDZTj6HxI/AAAAAAAAAa0/BUQmnHg9T64/s640/blogger-image--215252228.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://lh6.googleusercontent.com/-I8A1DfJj744/VFKDZTj6HxI/AAAAAAAAAa0/BUQmnHg9T64/s640/blogger-image--215252228.jpg"></a></div><div class="separator" style="clear: both;"> The Swampy Grove, o/c, 6x10</div><div class="separator" style="clear: both;"><br></div><div class="separator" style="clear: both;"> Yes, a heron did stop by , seemingly to enjoy the scenery bathed in the late afternoon sun.</div></div><br></div></div>tom martinohttp://www.blogger.com/profile/07501495032533630603noreply@blogger.com0tag:blogger.com,1999:blog-7124886923612235843.post-66822561035481727442014-07-16T14:17:00.000-07:002014-07-16T14:17:25.838-07:00Paintings Hanging Now<b><span style="font-size: small;"> Currently my paintings are being exhibited in a few wonderful RI locations. First, there is my more or less annual show at the East Greenwich Free Library (82 Peirce Street, East Greenwich, Rhode Island) Opening tomorrow (Thursday, 17 July)) from 5:30 - 7:30 PM. <i>In this show I have perhaps only a half-dozen works that are framed and ready for purchase. As you enter the Gallery you will notice many smaller, unframed works hanging along the left wall. These latter works represent "first takes", oil studies and sketches that are short on finish but hopefully long on charm. They are first products of a plein-air painter and may or may not face further development in the studio. They represent the basic anatomy of the scene and may also be the outcomes of subtle experimental technique </i></span></b><i>. <b>For example, you will notice two small square-format boards with the same scene involving rocks and water. One was painted on a dry pale pink-orange tone</b>. <b>The other used a variation attempting to capture the mood of a grey day. It involved covering the dry tonality with a wet tone of blue-orange. The scene was then painted wet-into-wet over this nonuniform blue-orange tonality. Can you tell which of the two similar paintings was more successful in capturing the overcast day?</b></i><br />
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<b> The second place that hosts two of my paintings is Spring Bull Gallery in Newport (on Bellevue Avenue) as part of their Small Works Show. In this show I have a painting of Perkins Cove (Ogunquit) and another of a marsh in Barnstable (Cape Cod).</b><br />
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<b> Finally, There is a second Opening of interest this week Friday (18 July) at 6 PM at the Gilbert Stuart Museum newly remodeled Gallery in North Kingstown. My two paintings hanging there include a Wickford view and one of Second Beach in Newport.</b><br />
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<b> If you happen to visit these locations and don't see one or both of the two paintings mentioned here for Spring Bull and Gilbert Stuart, it means I have been requested to provide another due to a sale. I will gladly provide replacements as soon as possible!</b>tom martinohttp://www.blogger.com/profile/07501495032533630603noreply@blogger.com0tag:blogger.com,1999:blog-7124886923612235843.post-34129010981496502852014-04-24T10:30:00.001-07:002014-04-24T10:30:43.139-07:00Transitioning to Spring -- and Coastal Plein-air<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="http://3.bp.blogspot.com/-In8okcwNgK8/U1lEHLEQFgI/AAAAAAAAAZ8/CCDyq8XG7wo/s1600/DSC02240.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="http://3.bp.blogspot.com/-In8okcwNgK8/U1lEHLEQFgI/AAAAAAAAAZ8/CCDyq8XG7wo/s1600/DSC02240.jpg" height="320" width="236" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Portrait of Kelli, Oil on Binder board, 15 x 20</td></tr>
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The painting at left is another product of the three-hour portrait sessions hosted by the well-known Providence artist Kate Huntington on Monday nights. The model, herself an artist, was amazing in both maintaining and recovering her pose for this session. Most of the artists at this session end up with a credible likeness, but if you want more finish, more quality in the visual effect, it is probably advisable to bring supports (canvas) no larger than , say, 12x16. That situation was evident here. Whereas the likeness, in my opinion, was good, more time was needed to fine-tune hues and soften edges, particularly in shadow edges on and surrounding the face. Incidentally, I find the binder board (actually made for book coverings) works find in accepting the paint provided it is first gessoed front and back -- preferably at least two coats. <br />
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<tr><td style="text-align: center;"><a href="http://2.bp.blogspot.com/-zOBd7SPv-8M/U1lHCeG5n7I/AAAAAAAAAaI/he_Uk7BT0Ec/s1600/DSC02238.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="http://2.bp.blogspot.com/-zOBd7SPv-8M/U1lHCeG5n7I/AAAAAAAAAaI/he_Uk7BT0Ec/s1600/DSC02238.jpg" height="160" width="200" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"> Resting Boat, 8x10, Oil on Board</td><td class="tr-caption" style="text-align: center;"><br /></td><td class="tr-caption" style="text-align: center;"><br /></td><td class="tr-caption" style="text-align: center;">The oil sketch (8x10) shown here was done on a sunny but rather breezy day . The fun here was capturing the light and its effect on the still-grey hues of early spring. The boat itself is not very distinctly delineated and is off to the left. The next painting (to the right) was done on the very next day in the same spot . Here the light was not as strong. A little more of the shore is shown -- at low tide. This last oil sketch was done on a 9x12 masonite board. </td><td class="tr-caption" style="text-align: center;"><br /><div class="separator" style="clear: both; text-align: center;">
<a href="http://3.bp.blogspot.com/-QHKLJjf-1rI/U1lIrpMFPjI/AAAAAAAAAaU/ZygGPW2LuZ4/s1600/DSC02239.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="http://3.bp.blogspot.com/-QHKLJjf-1rI/U1lIrpMFPjI/AAAAAAAAAaU/ZygGPW2LuZ4/s1600/DSC02239.jpg" height="150" width="200" /></a></div>
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<br />tom martinohttp://www.blogger.com/profile/07501495032533630603noreply@blogger.com0tag:blogger.com,1999:blog-7124886923612235843.post-49705212127223485722014-02-28T11:49:00.000-08:002014-02-28T11:49:26.408-08:00Staying Active In and Out of the Snow<div class="separator" style="clear: both; text-align: center;">
<a href="http://2.bp.blogspot.com/-qI8rtqqBxH8/UxDireXWCmI/AAAAAAAAAYU/IHV-1XhJxF0/s1600/016.JPG" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="http://2.bp.blogspot.com/-qI8rtqqBxH8/UxDireXWCmI/AAAAAAAAAYU/IHV-1XhJxF0/s1600/016.JPG" height="141" width="200" /></a></div>
The painting shown here is an oil sketch (15 x 22) on illustration board that I accomplished a couple of weeks ago -- when the cold weather snap had taken a nap. The purpose here was not so much to complete a painting of the boat on the stancions as to gather factual information for work on a separate canvas in the studio. I was attracted to the subject by the partial snow cover on the ground as well as to a boat out of the water. In the "colorless" winter, there is still much one can do with color.<br />
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This small (8x10) is an oil sketch done on burlap, accomplished from a sketch I had done in pencil. The foggy day and the downward viewpoint were the attractions here. This, like the previous painting, is a Wickford scene. I have done a few pieces on gessoed burlap. It takes some struggle to work the brushes over this rough surface, but I think it has potential for the more impressionistic techniques. From this sketch , and a change of format, I developed a second piece.<br />
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This second oil sketch was done on an 11x14 canvas panel. I gave the panel an underpainting of a lavender hue and painted into it using wet-on wet brush and palette knife work. The fog here is seen as a more colorful gray and brings out the other few spots of brilliant color. The three ducks in the lower right quadrant are not very visible. Since there is such thick paint on the panel, corrections will have to wait a few more days!<br />
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tom martinohttp://www.blogger.com/profile/07501495032533630603noreply@blogger.com0tag:blogger.com,1999:blog-7124886923612235843.post-13523537130981335702014-01-21T09:54:00.000-08:002014-01-21T09:54:26.314-08:00A Week in Winter<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="http://4.bp.blogspot.com/-9oaJ5E6MwnY/Ut6ss0AFteI/AAAAAAAAAXg/VZ3EMPsBTQ0/s1600/DSC02161.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="http://4.bp.blogspot.com/-9oaJ5E6MwnY/Ut6ss0AFteI/AAAAAAAAAXg/VZ3EMPsBTQ0/s1600/DSC02161.jpg" height="200" width="140" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Pregnant Model, Oil on Canvas, 16x20</td></tr>
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The painting to the left is a portrait done at Kate's Studio Portrait Session painted a week ago. The painting is, of course, in need of finish in at least a couple of ways. First the three-hour session did not allow me enough time to completely "cover my tracks", i.e., correct mistakes in drawing and/or color. (Above the model's painted head color was muddied due to earlier drawing corrections. Upon the paint drying this error can be corrected easily enough.) Another indicator of finish is evidence of edge control which is not complete in this case. <br />
Although the model posed nude, I chose to focus in the upper third of the figure, featuring her lovely face.<br />
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<tr><td class="tr-caption" style="text-align: center;">Overcast by Bissel's Cove, Oil on Board, 10x10</td></tr>
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The small oil sketch to the left was done on an overcast day. I was pleased with the general tone that mirrored the tranquility of the place, although further corrections will result from incubation in the studio. The view looks out to Smith's Castle, a Rhode Island landmark.<br />
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<tr><td style="text-align: center;"><a href="http://2.bp.blogspot.com/-6o6svcHyA6I/Ut6wTNE96dI/AAAAAAAAAX4/vhv-LjrZEkU/s1600/DSC02163.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="http://2.bp.blogspot.com/-6o6svcHyA6I/Ut6wTNE96dI/AAAAAAAAAX4/vhv-LjrZEkU/s1600/DSC02163.jpg" height="200" width="154" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">In the Village, Oil on Canvas, 12x16</td></tr>
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The oil sketch to the left is slightly more developed than the one above, primarily due to the fact that the weather was much more cooperative on this day than the last. It was a sunny day with temperatures near 50 degrees. Such days, especially in January are especially welcome to plein-air painters in these parts . The fingers do not require gloves and, more importantly, observation times can be extended. Moreover, the light did change but not so radically as I feared it would during this transition from late morning to just after noontime.<br />
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<tr><td style="text-align: center;"><a href="http://3.bp.blogspot.com/-R0UhOWvH5dE/Ut6yHXiIcUI/AAAAAAAAAYE/ahoAMwVe_aA/s1600/DSC02164.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="http://3.bp.blogspot.com/-R0UhOWvH5dE/Ut6yHXiIcUI/AAAAAAAAAYE/ahoAMwVe_aA/s1600/DSC02164.jpg" height="217" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Path by the Cove, Oil on Ill. Board, 11x13</td></tr>
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To the left is an oil sketch done on illustration board, done plein-air about a day after the previous effort. I was interested in the play of light emphasized by shadows across the path and by the birches lining the bank of the cove. Between the trees one can see boats still moored there on this January day. The day was cold but the sunshine was enough to keep this artist fueled and on task. The view of the treeline across the cove gave that feel of winter. I found the scene an absorbing challenge -- and I will be back there when the sun shines again! Incidentally, this location is a short walk from the site of the previous painting of Bissel's Cove. tom martinohttp://www.blogger.com/profile/07501495032533630603noreply@blogger.com0