Month: September 2013

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It’s almost time for Rye Painters on Location again!

My piece for Rye POL’s Silent Auction: Gold Mountain Air, oil on canvasboard, 11X14.
Some of my Best Painting Buds (BPBs) are people I met at Rye Painters on Location: Bruce Bundock and Marilyn Fairman, for example. Another of my other BPBs—Brad Marshall—is someone I recommended to the organizers (as did Lee Haber). There are also painters I like so much but never see except at POL—Kathy Buist, Patti Mollica, Linda Richichi, Tarryl Gabyl, and others. It’s always been my favorite event, so the last few years when they tinkered with it, I was kind of bummed.
Brad Marshall’s piece for the Silent Auction: Watermelon and Cherries, oil on canvasboard, 11X14.

Linda Richichi’s piece for the Silent Auction:Wetland Pink, pastel, 9X12.
But it’s back in its old format: silent auction of prepared pieces, live auction of wet canvases. And it’s coming up soon: September 28. I will be in Maine that prior week, and plan to race down to Rye to meet Brad Marshall for some fun times “flailing around.” After that, we’ll wash our faces, have a few glasses of wine with our friends, and sit back to watch the auction.
Having done this for a lot of years, I feel like I’ve painted an awful lot of the Long Island Sound scenery. I suggested that Brad should choose our painting location and I’ll just come along to fall into the ocean and generally make a mess. He was amenable, and last week he drove up to drop off his silent auction piece and scout locations. I now know where we’ll be painting; you’ll just have to wait and see, won’t you?
If you haven’t registered for my workshops but want to, know that October 2013—last session with openings in 2013—is selling out fast. Or, let me know if you’re interested in painting with me in 2014. Click here for more information on my Maine workshops!
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Better than working in a cube farm?

Darn it, I KNOW I took a photo of my easel in the manure pile, but I can’t find it! So you’re stuck with the rather-more-normal wet canvas. Never good when someone decides to blot it out for you, which has happened, of course.
I received an amusing text from a friend this morning that said, “Tough living, this artist stuff. But perhaps less stressful than [a Fortune 500 company at which he works].”
“You really think so?” I responded. Painting for a living has many advantages, but a stress-free life is not among them.
My pal Brad Van Auken is fond of quoting Malcolm Gladwell’s  Outliers: The Story of Success and its 10,000-Hour Rule. This posits that the key to success in any field is a matter of practicing a specific task for around 10,000 hours.
That would be about five years of full-time work, which is indeed about what a person needs to do to be a good painter. Of course, that’s also more or less equivalent to a graduate degree.
However, painting combines a high level of technical training with the brute force of physical labor. That has led to some wonderful snafus. Consider the time I dumped my easel over a wall and into a manure pile. Or the time I dropped my brushes into Braddock Bay.  Or the time my car battery died on a sub-zero day and I had to hike to a farmhouse to cadge a jump.  Or the time my car battery died in the Adirondacks and my friend Marilyn Fairman had to hike to a place in cell phone range to call for help. Or the time I sent my umbrella sailing into the Rio Grande, never to be seen again.

When people comment about how much fun painting is—and it is—they aren’t paying attention to the training, the commuting, or the back-office work. They’re reacting to the sheer physicality of it, about not being stuck in an office or a cube farm. In modern America, everyone really wants to be a manual laborer; some of us have actually figured out how to do it.

If you haven’t registered for my workshops but want to, know that October 2013—last session with openings in 2013—is selling out fast. Or, let me know if you’re interested in painting with me in 2014. Click here for more information on my Maine workshops!
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Bid early! Bid often!

Painting on a floating dock during the Quick-Draw. My preferred vantage point for boats. (Photo by Howard Gallagher)
I have an informal contest with a Maine pal about which of us can be mentioned most often in the media. Until this week, we were tied, but I think I just out-paced him with photos in the Penbay Pilot and the Camden Herald.
Saturday is my 33rd wedding anniversary and my Dear Spouse has been very even-keeled (ahem) about my being away so often, so I will reluctantly miss the auction of our paintings.
Two works will be in it, this:
Camden and Mt. Battie, oil on linen board, 12X16
And this:
The Schooner Mercantile, oil on canvasboard, 11X13
The Wet Paint Auction will be held on Saturday, September 7 from 6:30-7:30pm at the Bok Amphitheatre in Camden Harbor Park, located behind the Camden Public Library. (A bit of trivia: these gardens were designed by the Olmstead Brothers and Fletcher Steele in 1931, and they are worth the trip to Camden in their own right.) There will be a preview prior to the auction, from 5:30-6:30pm. Kaja Veilleux of Thomaston Place Auction Galleries will conduct live bidding.
However, you can also bid long distance, via email by clicking here. Absentee bidding will close at noon on Friday, September 6. Absentee bids must include your name, address, home and cell phone, email address, name of artist, title of painting and maximum bid (not including tax or shipping). Absentee bidders will be notified of the results on Sunday, September 8.

Yesterday I said that there are three beginning painters signed up for the October session. I stand corrected—there are three novices, one intermediate, and one advanced painter. If you haven’t registered but want to, know that October 2013—last session with openings in 2013—is selling out fast. Or, let me know if you’re interested in painting with me in 2014. Click here for more information on my Maine workshops!
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The best fan mail

Three watercolors done by Shirley last October. I can’t wait to see what she does in Maine this October! 
The greatest compliment to an instructor is to have a student sign up again for another year. While I was in Camden last week, I learned that Shirley, a student from last October’s Irondequoit Inn program, will be joining me in Maine this October.
Shirley is darn intrepid. She let us put her in the bottom of a canoe and paddle through a choppy lake and a maze of streams until we reached a beaver dam and had to back our way out. I promise right here and now we won’t be doing that again.
Shirley letting us take her for a canoe ride…
But I also promise that the food—of such high caliber at last year’s workshop—is at least as good this year in Maine.
Shirley has a BFA from Syracuse University and was a prizewinner at the second annual Chautauqua National Exhibition. (In the spirit of things coming full circle, I participated in two Chautauqua National shows myself, a few decades later.)
To balance her out there are three novice painters signed up for the October session—and a couple of additional openings, one of which probably has your name on it. She’s a lovely person, and you’d enjoy being in class with her.
If you haven’t registered but want to, know that October 2013—last session with openings in 2013—is selling out fast. Or, let me know if you’re interested in painting with me in 2014. Click here for more information on my Maine workshops!

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And on the Eighth Day, God created a deluge so I would go home

The Dugs in Autumn (Beaver Dam near Speculator,) 11X14, oil on canvasboard, by Little Ol’ Me.
Maine loves me, I can tell. The weather dawned fine and fair for the whole week of the Camden Plein Air Festival, any rain containing itself to evening or early morning hours. On Monday I awoke to the steady thrum of rain on the roof. It rained solidly for the fourteen hours it took to get back to Rochester.
Ah, a Labor Day tradition: rain.
There is no day so dismal for driving in the Northeast as Labor Day, since school traditionally starts the next morning and we are all desperate for our last gasp of fun. After crawling across the Sheepscot River bridge and inching along 295 toward Portland, we decided to strike off to the west and try to intersect with NH Route 101 to head cross-lots to Bennington, VT. Ultimately, we did, but it was a very slow drive, since apparently the half of New England that wasn’t fuming on US 95 had decided to join us. Still, it was beautiful.

Lovely even in the rain.
When I see the early soft maples in the mountains starting to turn red, I am reminded of a woodsman who vacationed at the Irondequoit Inn this time of year. His name is John Porter, and he is a master at tree identification. There is no color like that color of the soft maples in swampy mountain lands. The painting, above, is of an area dammed by beavers in Speculator, but it could also have been any road between Bennington and Keene, where the earliest hints of color are appearing in the soft maples.
Intimations of color in the highlands.
I’ll be back in Maine in three weeks. By then, the Bennington-Keene-Manchester route will be in full early-autumn color. Perhaps it will be the route I should take. And by then, I will be able to get a table at Fernald’s Country Store or the Bagel Café in Camden. There is no season that isn’t good in Maine.
My upcoming workshop students need supply lists. Check here:
·         Watercolor
·         Pastels
·         Oils

If you haven’t registered but want to, know that October 2013—last session with openings in 2013—is selling out fast. Or, let me know if you’re interested in painting with me in 2014. Click here for more information on my Maine workshops!
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Attacked by Pirates and Out

Today’s painting, fail. Who cares?
I knew today would be chaotic at Camden harbor but I like chaos—in metered doses—and I’ve painted enough good paintings this week to spend the day schmoozing on the dock. I hadn’t expected to paint through cannon fire, however. Frankly, my painting shows the distractions. Still, it’s been a tremendous blessing and privilege to paint here, and I’m profoundly grateful for it.
What I was looking at was often on the other side of a crowd, but what can you do? They were having a great time!
My father loved Maine, painting, and sailing wooden boats. Several times this week when I signed my paintings I thought of how amazed and happy he would have been to see his daughter getting paid to stand on a dock in Maine, painting wooden boats. Here’s to you, Dad. Thanks for teaching me to paint and draw and sail. Funny how things come around full circle, isn’t it?
And sometimes I couldn’t even get to my easel.
I’m still smiling at Harbor Master Steven J. Pixley reading Robert Service’s The Cremation of Sam McGee while we did our two-hour Quick Draw.
There are strange things done in the midnight sun
By the men who moil for gold…
Takes me back, that. There just isn’t enough poetry recited in America these days.
Windjammer Festival chair Emily Lusher with the Build-a-Boat trophies, made of caulk tubes. Is that great, or what?
The two little boys in the foreground went out with toy pistol and cutlass to protect Camden harbor from pirates. Their courage flagged slightly when the cannons started booming.

And the little girl in the pink tank top kept piping “Ahoy, mate!” to the pirate as he handled the boat lines.
(This was Day Seven of Camden Plein Air, Camden Falls Gallery’s annual paint-out and wet paint auction. From Monday, August 26 through Monday, September 2 participating artists from around New England and the mid-Atlantic region are painting picturesque Camden Harbor and the surrounding area. New work produced during this event will be displayed in the Camden Falls Gallery throughout the week, and a Wet Paint Auction will be held on Saturday, September 7 to benefit four local non-profit organizations.)
Join me in October, 2013 at Lakewatch Manor—which is selling out fast—or let me know if you’re interested in painting with me in 2014. Click here for more information on my Maine workshops!