Castine Archives | Carol L. Douglas

July 24, 2018

What I saw in Castine

We humans really have no idea how tiny we are compared to nature.

Towering Elm, Carol L. Douglas, painted at Castine Plein Air

Trees are the largest living beings surrounding us, but we pay them scant attention. Until one drops a limb, we have no sense of their power or scale. Most of us can’t identify more than one or two species. Gardeners may fuss over the flowering trees, but they pay scant attention to the large masses of green just beyond their fences.

There are about 3.04 trillion trees on Earth, or around 422 for each person. It seems like we ought to pay more attention to them.

As with everything visual, my ‘knowledge’ sometimes overwrites what I see. I told you how I once repeatedly mis-corrected a student’s drawing of a lobster boat. Being able to draw something from memory is a skill. The downside is when we stop observing altogether.

I had a similar epiphany last week in Castine. I’d seen Don Tenney of the Castine Arts Associationover the winter. He told me about a survey map of elms in the town.

Photo of Delaware Avenue near Summer Street, 1939, by Wilbur H. Porterfield, courtesy Buffalo and Erie County Historical Society.

“Elms?” I asked, disbelieving. I’m from Buffalo, where Dutch Elm Disease first appeared in 1951. By the late 1960s, almost every elm was dead. Buffalo, once known as the City of Trees, lay bare, its Cathedral Arches of about 180,000 trees gone forever. I was a small girl when the city arborists cut down the remaining trees on our block. It went from a magical green tunnel to an unremarkable, clapped-out neighborhood instantly.

I assumed the elms were gone everywhere, gone the way of the American chestnut, into the annals of history.

Dutch Elm Disease arrived in the US in 1928. Of an estimated 77 million elms in North America in 1930, over 75% were gone by 1989. But it turns out there are remaining pockets of elms, most notably in Canada’s western provinces. And there are still a lot of them in Castine.

Once I realized they were there, I couldn’t stop seeing them. They’re even taller and statelier than in my memory. They’re no longer in an unbroken line, except for a stretch of Court Street, but they still arch over Castine’s lovely streets.

In Republic of Shade: New England and the American Elm, Thomas J. Campanella documents the importance of the American elm to our American identity. Elms were planted in formation across the country.

The Elm Tree, c. 1880, George Inness, courtesy of the Clark Museum.

Dutch Elm Disease notwithstanding, elms were hardy and long-lived. They have a dense canopy with a unique parasol shape, echoing a vase or the Gothic arch. Since they had no commercial usefulness, they were allowed to grow untouched on the edges of fields and in the forest. They came to represent the primeval forest in the American imagination.

I painted the above example of an elm at the corner of State and Court Streets as dusk fell. Next year, I’ll approach the composition differently. But this painting was useful in setting the scale of the trees. I had to erase the house repeatedly and make it smaller to make it true to reality. We humans really have no idea how tiny we are compared to nature.

I’ve got one more workshop available this summer. Join me for Sea and Sky at Schoodic, August 5-10. We’re strictly limited to twelve, but there are still seats open.

July 20, 2018

This has not been one of my better days

It only takes a moment to change your frame of reference.

Down the Reach, by Carol L. Douglas

My father said, “This has not been one of my better days” nearly every day. When I’m having a difficult time, I tell myself that. Then I laugh, remembering that all discomfort is relative. That invariably restores my good humor.

I was hot on the trail of a painting and refused to stop for anything. My pal Berna brought me scones and coffee in the morning. Chrissy Spoor Pahucki and her son Ben brought me cake in the afternoon. Still, I should have taken a break. I stumbled around in the wind and sun breaking things. I tore the end off my tube of ultramarine blue. I broke my framing gun for the second time. I was a filthy mess myself and got blue paint all over a frame. In trying to clean it off, I scoured the frame corners raw. As I fumbled, the wind blew my umbrella into my painting. Yes, it was one of those days.

I’m usually pretty mellow about problems, but I was incandescent, ready to take easel, paints and brushes to the cove and dump them in. A car pulled up. It was an old friend with whom I’ve painted and shared digs at Adirondack Plein Air.

“This has not been one of my better days.” I told her, but this time saying it didn’t help.

Tom Sawyer’s fence, by Carol L. Douglas.

“I was painting something really good,” she responded. “But my phone kept going off. Finally, I checked and the calls were from my new daughter-in-law. They’ve only been married a month.”

We love our families, but we don’t necessarily want to talk to them when we’re working. It’s hard to answer the phone when you’re covered in goop. They generally don’t call unless it’s an emergency, so I completely understood her worry as she looked at her screen.

“She wanted to tell me she’s pregnant,” she explained. I had to laugh, because I fully appreciated what was going through my friend’s head.

“That’s wonderful,” she was thinking, along with, “Now hang up and let me finish this blasted painting.” Well, the painting didn’t happen; instead she burst into tears. Mazel tov, Grandma!

Jonathan Submarining, by Carol L. Douglas. The kids raced around in their 420s while Poppy Balser and I stood in the surf painting. It was a magical day.

That completely restored my good humor. I went home and had dinner with two teenage boys and their grandmothers. One of them modeled in the best painting I ever did at Castine, Jonathan Submarining. That day, he was a little kid bouncing around on heavy seas. Just a blink of an eye, and he’s now a young adult, teaching in the same sailing school.

“You’ve gotten so old,” Berna exclaimed.

“It’s a good thing they don’t say that to us,” I laughed. Castine may be Brigadoon in many ways, but even here, time doesn’t stand still. It’s a reminder that the work will keep; treasure the ones you love.

July 25, 2017

My non-existent business plan

The professional painter ought to set some commercial goals. What form should they take?

Michelle reading, by Carol L. Douglas. While I love painting and teaching figure, there’s no room for it in my imaginary business plan.

One of the best things about my Ocean-Park-to-Castine week is that I get to spend it with Mary Byrom. We are good buddies but she lives in North Berwick, ME and I live in Rockport. They’re just far enough apart to make casual get-togethers impossible.

There isn’t much time for idle conversation during these plein air events but we do snatch moments. You might think we’d talk about technique or lofty ideals of art. Mostly, we talk business: are you going to [this place]? How were sales at [that place]?

Recently, Mary has been larding her conversation with the phrase “my business plan,” as in, “I’m not sure how that fits in my business plan.”

More work than they bargained for, by Carol L. Douglas. Do boatyard pictures still fit in my business plan?

After Castine, Mary, her husband, and I were enjoying some cold water in my kitchen (a delicious luxury after a week in the sun). Mary mentioned her business plan again. “Mary,” I objected, “Who has a business plan? My business plan is, um, ‘paint something.’” We guffawed, because we all know that artists are notorious for our bad planning skills.

As usual, Mary is several steps ahead of me. I mulled over what she said all afternoon. It makes sense to have a forward agenda. My problem is that I have absolutely no business experience. The whole notion of a business plan is alien to me.

Under the Queensboro Bridge, by Carol L. Douglas. I didn’t stop painting urban scenes because of a business plan; I just like painting rocks better.

The distinction between an amateur and a professional is whether one does one’s work for love or money. But it goes deeper than that: it’s about the discipline of working every day, on a schedule. It means treating painting as a real job and not something one does when the mood strikes. Even with this, however, I know artists who work extremely hard and don’t make much money.

That, I think, is because being a painter is so personal. Just as modesty precludes the polite person from telling the world how great he is, it precludes the personally-invested artist from selling his own work. For all of us, a business plan is a fence we could erect to prevent our feelings from hindering our careers.

Butter, by Carol L. Douglas. Still lives were never part of my business plan; they’re like practicing scales.

I looked up business plans for artists on the internet. Frankly, they’re gobbledygook to me. I don’t know, for example, how setting a five-year goal of making $200,000 a year in sales can possibly help me attain even a dollar more in sales today. If someone out there is knowledgeable about this and wants to help me understand, I’d love to hear more.

Meanwhile, I do have three simple goals for this year:

Add events in the South or Midwest to extend my season. The Northeast jams all our festivals in a four-month period from July to October. This is reasonable considering our climate, but it puts too much pressure on us to be seasonal workers.
Diversify my gallery representation into other geographical areas.
Paint more boats.

Does that count as a business plan?

July 24, 2017

What should I paint?

Getting past the iconic into the intimate means working out what you love about a place.

Apple tree with swing, by Carol L. Douglas

In 2013, I spent a few hours ambling around Castine with my friend Berna. I haven’t spent much time on foot there since. I’m always too busy.

This year, I managed to separate myself from my car keys. While I waited for my husband to drive up from Rockport, I took a quiet walk around town. I poked my nose into places I’ve never investigated.

Flood tide, by Carol L. Douglas

Things look different on foot. A marine creature broke the surface behind the Perkins House. The sweet tones of a flute drew me to a gate I’d never noticed before. The sea sparkled through the garden below.

I had time to ponder Castine’s Post Office. Established in 1794 and in the same building since 1833, it’s one of the nation’s oldest. It’s painted in the bilious yellow-and-rose-brown color scheme that was traditional before New England clapboard turned white. I’ve seen it many times, but never noticed the wooden baskets carved on each corner.

High tide, by Carol L. Douglas

Nor had I ever noted that the fine yellow Georgian on Main Street has brick side walls and a clapboard front. That’s the reverse of the usual pattern, so it’s a curiosity.

At breakfast, Harry and Berna and I pondered another question. If 40 artists each produced six paintings a year for five years, we’ve done 1200 paintings. Castine’s year-round population is 1,366. We’re close to a painting per person.

AM from Jim’s deck, by Carol L. Douglas

My math, of course, is absurd. There haven’t always been 40 artists; we don’t always finish six paintings; many non-residents attend the show. But we have certainly painted Castine’s icons many times.

This presents both a problem and an opportunity. The problem can only be solved in one of two ways: either go farther abroad or dig deeper. This year, I painted two works off-the-neck, on properties overlooking the Bagaduce River.

Penobscot Early Morning, by Carol L. Douglas

Opportunity lies in going deeper. I started to notice apple trees. They were everywhere: leaning over an old stone wall, curving over a picket fence, in lawns, straggling along Battle Avenue. They are as much a part of our history as Castine’s fine old churches and houses.

The roots of plein airpainting include the 18^th century equivalent of picture postcards. It’s easy to fall into that trap, but it’s no longer necessary.

Adams School, by Carol L. Douglas

Paul Cézanne famously painted Mont Sainte-Victoire over and over, using it as a template on which to work through ideas. There is much to be learned from getting past the iconic into the intimate, and working out what you truly love about a place.

January 4, 2017

Making pictures while the sun don’t shine

“Cadet,” 8X6, oil on canvas, by Carol L. Douglas

My friends taught me to cook scallops a few years ago. Of course, to cook them, you have to have them. Last year and this, they’ve gotten me a gallon of the beautiful bivalves from their own fisherman source up in Castine.

Berna and Harry are cooking connoisseurs, but I’m usually a deeply insecure cook. Something snapped during the Christmas holiday, though. Over coffee, I confessed to Berna that I’d spent a good deal of the week in front of a stove. I’d run up a few batches of Christmas cookies, made sauce and meatballs, fried some cod, made a chicken pot pie and then schnitzel and red cabbage. As I have been known to not cook for years at a time, this greatly surprised my family.

My "Christmas Angel," was a 4H project. I trot it out every year on Facebook to amuse my childhood chums.

My “Christmas Angel,” (the real thing, not the painting) was a 4H project. I trot it out every year to amuse my childhood chums.

A childhood chum recently told me that my mother, who was our 4H cooking leader, had fostered his love of cooking. I didn’t seem to catch that from her, but it’s true that most of my foundational knowledge about cooking, baking, and sewing came from 4H. That group, an outgrowth of the Cooperative Extension, shows up in the most surprising places. Berna, it turns out, was also a 4H-er. We talked about the County Fair, baking sponges, and other joys of our youth.

I sure did enough canning as a kid. Putting up scallops reminds me of that (although it’s a lot easier). How, I wonder, did Mainers put up seafood before the invention of little plastic freezer bags?

Preparing luxurious pet food for Max.

I know that I could do something thrifty with all those bivalve feet—like make stock—but my 19-year-old Jack Russell terrier really loves them. Since he won’t be around next scallop season, I gave them to him. The ‘foot’ seems to be just a muscle attached to a bigger muscle. It’s tough, but it’s not like the toothless old guy chews his food anyway.

I frittered away my lunch hour chattering with Berna, so I had to work past dark. For my readers in more southerly climes, that means 4 PM in Maine in January. I finished my little painting of the Cadet under artificial light.

Years ago, I studied with Cornelia Foss. She would never turn the studio lights on at dusk, insisting that dim light was actually good for color management—it caused your paintings to be brighter and lighter than you expected. In general, I’ve found that to be true, but you have to wait until dawn to see the results.

I’m generally early to bed and early to rise so my dimly-lit studio is usually not a problem, but it does mean I have to make pictures while the sun shines.

July 25, 2016

13 paintings in 7 days

“Dyce Head in the early morning light,” 12X9, oil on canvas board, Carol L. Douglas

It’s unusual to come home from a week of painting empty-handed, but it just happened. I painted 13 works in seven days—seven at Ocean Park, six at Castine. Four are on display at Jakeman Hall in Ocean Park for rest of the season. The others have all gone on to new homes.

Every year, tiny Castine, ME (population 1366) turns out crowds of enthusiastic art buyers for Castine Plein Air. There are forty artists producing six works each, meaning there are 240 works on display. Somehow a majority of them get sold.

“Jonathan Submarining,” 8X6, oil on canvas board, Carol L. Douglas

As I walked into the Maine Maritime Academy student center with fellow painterBruce Newman, I commented that every year I think I’ve done good work until I see what my peers have done. He said he always feels the same way. Each year, new artists are juried in, so the quality is being distilled upwards. I get inquiries from enough out-of-state painters about this show that I know it’s ‘got legs’ in theplein air community.

“Wadsworth Cove spruce,” 6X8, oil on canvas board, Carol L. Douglas

On Saturday, Castine’s Witherle Library also held a used book sale. I have inside information about this event because my Castine hosts are the library’s president and treasurer. “There are lots of art books,” Harry told me. Sadly, the sale ended at 2, which was also our delivery deadline. Even though I finished painting earlier than I had ever done before, I still barely managed to set up on time.

“Wadsworth Cove garden,” 10X8, oil on canvas board, Carol L. Douglas

Despite my atrocious driving, I got to the library just as the signs were coming down. However, the Kaiserians took pity on me. Early Sunday morning, I went through the sale with Berna, even though I was sure Castine residents Philip Freedman and Karen Stanley had already nabbed all the best books. I found a book of Sir Stanley Spencer paintings. This odd English artist is one of my favorite painters. Score!

“The British Canal,” 12X16, oil on canvas board, Carol L. Douglas

I sometimes think we should have bought a home in Castine instead of Rockport. It’s so darn friendly. However, every mile north is a mile farther from my kids and grandkids. At times I feel those miles keenly. Such was the case on Sunday morning.

I have two ways of fighting sleepiness while driving. The first is writing in my head, but that only works when I’m mentally awake but physically tired. So I sang scales—creaky, raspy, cat-howl vocal exercises I learned in my youth. I don’t know if I’m kept awake because they sound so bad or whether they oxygenate the brain, but they always work as a last resort. They’re especially entertaining when driving through Camden with the windows down.

“J&E Riggins and Bowdoin in Castine Harbor,” 12X9, oil on canvas board, Carol L. Douglas

The physical crash, when it comes, is terrific. I find that the only cure is sleep—lots and lots of sleep. I crawled into my bed and slept the afternoon away, missing a visit by Mary Byrom and Marcus Gale to my studio. This morning, I feel almost perky enough to look at my calendar and see what I’m doing this week.

July 22, 2016

Tide? What tide?

Tide? What tide? Poppy Balser and I painted boats together.

Poppy Balser is a noted watercolorist from Digby, Nova Scotia. In addition to being a full-time artist, she’s a part-time pharmacist and a wife and mother of two kids. I admire her painting tremendously and looked forward to seeing her at Castine Plein Air again this year.

Yesterday we painted together and she told me a story. She dropped her kids at their grandparents’ house in St. Andrews, NB, and crossed the border at Calais, Maine. This crossing is routine for her.

Her interview with U.S. Customs and Border Protection started in the ordinary way. She told the inspector that she was coming into the US for a few days to paint in a plein air event and see friends. A second agent joined the first one and her car was searched. They found—unsurprisingly—art supplies and frames.

“How much money do you anticipate making?” they asked. The answer, not surprisingly, was in the very low thousands, not the six figures a Canadian performing artist might expect to earn on tour. Nevertheless, they shut her down.

Poppy’s offending brushes.

She was allowed to proceed with a serious warning. Yes, she can paint at Castine, but she cannot sell her artwork. Her passport has been flagged. If she sells here, either alone or through the non-profit organization, she will forfeit her ability to return to the United States.

I don’t think it was just Poppy’s earnest honesty that got her into hot water, because artists travel outside their home countries to paint, teach and study all the time. The biggest questions we normally face are about our materials, not our intentions. We understand that finished artwork is a commodity subject to tariff laws.

I painted in Canada last year and plan to do it again this fall. I hate the idea that I might be subject to the same hassles crossing our shared border.

Poppy’s newly-flagged passport is no small matter. It means that she will be routinely stopped by Border Control any time she crosses between Calais and St. Stephen and subjected to further interviews or denied access to the US altogether.

Earlier in the day, we discovered we’d both painted the lovely J. & E. Riggin as she left Castine. That’s the Bowdoin in the background.

For those readers who did not grow up along the Canadian-American border, it’s always been porous. My husband and I used to walk across the Peace Bridge into Ft. Erie, Ontario, on summer evenings. Canadians would, with equal casualness, cross the river to party or shop in Buffalo.

We didn’t need passports. Nobody was repeatedly harassed because they had a common name or had irritated an inspector at a different checkpoint.

If Poppy’s inspector was right and Canadians need work visas or special clearance to cross the border to paint, it’s a closely-held international secret. I could name several who are here in the US painting right now.

Purely for research purposes, I shared Poppy’s Scotch Egg. It’s my new favorite junk food.

I suppose the government’s rationale is that they’re protecting American jobs. Yet millions of migrant workers have crossed our southern border to work illegally in this country. We lack either the will or the ability to stop them. But we somehow have the resources to prevent a mild-mannered pharmacist from bringing her brushes across from Canada.

Get a grip, Customs and Immigration. Protect us from Nickleback and Celine Dion, not the Poppy Balsers of this world.

July 21, 2016

No side deals

“Ice Cream Parlor,” 12X16, is one of three pieces sold at last night’s show. The remaining four are on display at Jakeman Hall for the rest of the summer.

A very nice Canadian lady contacted me about buying my painting of Ocean Park’s ice cream parlor. Art in the Park doesn’t permit advance sales. One can, however, leave one’s credit card information with the office and the organizers will make the purchase when the sale opens.

I explained this to her. “But why can’t I buy it directly from you?” she asked. “Why do I have to go through the Ocean Park Association and pay them a commission?”

My final paintings, displayed at Ocean Park’s Temple.

Ocean Park, I told her, is an historic Chautauqua Assembly. The Ocean Park Association is the group responsible for its preservation, educational and cultural programming. They guard the special charm that makes Ocean Park a place people want to return to, summer after summer.

In addition, we artists couldn’t afford to paint there without the hospitality of residents who open their homes to us. The cost of a weekly rental would undo even the best art sales.

“I had no idea,” she answered.

To me, the work done by the non-profits who run plein air events is obvious: land preservation, historic preservation, arts education, community development, and more. But I work with these groups frequently. For someone who doesn’t, or someone from a country where they are funded in other ways, the importance of their fundraising may not be clear.

Anthony Watkins confers with budding driftwood artists.

It was a sweet last day of painting. Anthony Watkins was so tired he was barely standing. Still, he took time to counsel some young admirers on how to paint on driftwood. “We’ll pay you 25% of our profits if you let us use your paints,” they offered.

He deflected them graciously. “The trouble is,” he said, “these are the wrong kind of paints. You need to go home and see if you can find some house paint.”

Russ Whitten and I painted right up to the bell. Not that we were tired, but he lost his painting and I forgot to photograph mine. (Photo courtesy of Pamela Corcoran)

Russ Whitten sat on a bench painting a delightful nocturne from memory. (Sadly, he managed to lose it between there and the Temple.) A group of developmentally disabled adults surrounded us, enjoying their ice cream under the maples.

The carillon pealed the mighty opening bells exactly at 5. Sales were good, and we finished promptly at 7:30. Some painters headed home to a well-deserved rest. Anthony and I, however, loaded our respective cars and turned north toward Castine Plein Air.

I was approaching Belfast when I realized I hadn’t eaten since morning. After a quick stop, I pulled back on the road. Ahead of me was an old SUV with Maine plates. Despite the late hour, its driver was being annoyingly punctilious about speed limits.

Castine dreamed under a full moon as I finally arrived.

Castine slept under a full moon.

“Maybe I should crawl up his bumper to goose him up,” I thought. As I drew close, the vehicle looked awfully familiar. Was that Anthony’s old truck? I’ll never know for sure, but I followed it almost to Castine. The village slept in the gentle glow of the full moon. My hosts had left the light on for me.

By the time you read this, I’ll be on Castine’s village green, greeting old friends, making new ones, and discussing where we plan to paint. In short, it’s the start of a new event. This is a peculiar life: unpredictable, peripatetic, and often exhausting. Still, it’s a beautiful one, and I wouldn’t change it for the world.

May 15, 2015

Painting in Paradise

My painting of the Dyce Head Light from last year.

Because I can count on my fingers, I was distressed to read that artist Bobbi Heath is going to be on crutches for the next eight weeks. That brings us perilously close to Castine Plein Air, where she and 40 other fantastic artists (including me) will be painting from July 23 to 25.

This is the third annual Castine Plein Air Festival, and in that short time, it’s shot to the top of my favorites list, right up there with the Rye Art Center’s Painters on Location. It’s not just because my friends are going to be there, although that’s certainly part of it.

Me, painting at Oakum Bay (Courtesy of Castine Arts Association)

Castine sits at a commanding position at the mouth of the Penobscot River estuary. In the age of the fur trade, it controlled about 8000 square miles of prime hunting land. It was occupied by the Penobscot people, and its age of exploration opened with a visit by the Portuguese explorer Estêvão Gomes in 1524. He was followed by our old friend Samuel de Champlain in 1605. In 1669, the Mohawk raided.

Mary Byrom, painting at Wadsworth Cove. Life’s a beach. (Courtesy of Castine Arts Association)

No town with that kind of reach was going to be allowed to sit unmolested, and at some point, the French, Dutch, English and Americans all had their hands in.

I mention this because the town is absolutely full of historic sites. The town itself is graciously old New England, with clapboard houses skirting down to the water, the Maine Maritime Academy, the Dyce Head Light, and beautiful waterfront views everywhere. There’s even a little beach.

I did this painting of a reenactor’s tent at the Castine Historical Society last year.

Very few people wander across Castine by accident. It is unspoiled, but the downside of that is that accommodations are limited. So if this paint-out in an unspoiled landscape appeals to you, you should make reservationsnow.

Let me know if you’re interested in painting with me on the Schoodic Peninsula in beautiful Acadia National Park in August 2015. Click here for more information on my Maine workshops! Download a brochure here.

January 20, 2015

Beautiful, artistic Maine

Camden and Mt. Battie, by Carol L. Douglas

Tomorrow morning, I’m going to the Belfast Creative Coalition’s annual meeting. I’m going because I’m interested in a Land Trust proposal, but mostly to satisfy my curiosity.

Belfast is a city of 6,800 people, located in a county of about 38,000 people. Yet Belfast has enough art galleries to have a Fourth Friday gallery walk, and the Coalition could put together a Columbus Day Farm and Art tour with more than a hundred venues.

Visit Castine, population 1300, and you’ll be given this map of attractions.

Belfast is just one of many art cities on the Maine Coast. There are Rockport and Rockland, which is now home to the Center for Maine Contemporary Art and the Farnsworth. Camden, and Damariscotta are also chock full of galleries, teaching spaces, and studios.

The list of painters with feet in both Maine and New York is extensive and includes Winslow Homer, Edward Hopper, Childe Hassam, Rockwell Kent, George Bellows, Frederic Church, and Thomas Cole. For them—like me—the draw isn’t primarily the art community, but the land and sea themselves: the ceaseless rise and fall of the tide, the granite outcroppings, and the dark pines.

Damariscotta, by Carol L. Douglas

Later this week I’m heading up to Schoodic to scope out painting sites for next year’s workshop. The class is about half full now, so I recommend that if you’re interested, you get in touch with me soon.

Let me know if you’re interested in painting with me in Maine in 2015 or Rochester at any time. Click here for more information on my Maine workshops! Download a brochure here.