Transitions

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.

    Remains of the Day, 11x14, oil on canvas

      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.

   East Greenwich Harbor, oil on board, 8x10

      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!

   At Beavertail, oil on canvas, 9x12

   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.

Warming 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:

   The Split Cedar, oil on board, 5x7

     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:

    Edge of the Marsh, oil on canvas, 9x12

    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:

   The fisherman's House, Oil on paper, 8x10

    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!

    The Birch-lined Trail, oil on canvas, 8x10

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.

    The Lost Boat, oil on board, 8x10

    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.

  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.

  Perhaps by the next posting I will have sketches showing the signs of spring!

Spring Intervention

       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.

 Since the weather, for once, allowed me to

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.

       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:

One day I was able to get to my Kingston studio on a sunny but bitterly cold day.

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 :

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!

  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.

March Thaw, oil on canvas, 9x12

Perils of Winter Shows

    Kingston Rooftops, oil on linen, 18x24

           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.

    Early Winter Wickford, o/c, 6x8

   Kumquats and Lantern Blooms, oil on linen, 16x16

   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.

   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.

Training Never Ceases

C

      The Hummocks, oil on board, 8x10

      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.

     The Hummocks (no.2) , oil on cardboard, 9x12

         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.

    The Meeting Place(Wickford), oil on board, 8x10

     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.

    Butterfly Vase with Yellow Roses, oil on canvas, 13x17

   Kumquats and Lantern Blooms, oil on canvas, 16x16

   The Cowpoke (Jim), oil on board, 14x18

      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!

As the Weather Changes

    Teapot and Turnips, Oil on Linen on Board, 11x14  

   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.

The Impressario, oil on board, 16x20

   Portrait Study, oil on board, 14x18

   Still Life:  Roses and Apples, oil on canvas, 14x18

The 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.

       Narragansett Beach View (October), o/c, 12x12

      I have also sketched more inland areas to feast on the color afforded by local foliage.

     October Stream, o/c, 12x12

     October Stream (Morning), o/c, 12x12

    Below is a brief sketch I did yesterday in North Kingstown, just south of Wickford Village

    The Swampy Grove, o/c, 6x10

       Yes, a heron did stop by , seemingly to enjoy the scenery bathed in the late afternoon sun.