The intensity of color

Travel always reminds me of regional differences in color. 
Reed beds, by Carol L. Douglas, 9×12, oil on canvasboard

There were five Maine painters at Plein Air Brandywine Valley this year. One thing that was obvious was that our work was, overall, higher in chroma than that of the mid-Atlantic painters around us. Generalizations always lie, of course. For example, pastellist Tara Will is from down thataway, and she’s nothing if not eye-popping brilliant.

But a brief survey of well-known painters of the Maine coast—people like Henry Isaacs, Connie Hayes, Colin Page, Jill HoyEric Hopkins, etc.—show a painting culture interested more in color and light than in fidelity to fact. Compare that to the paintings recently completed for the Hudson Valley Plein Air Festival. With the exception of Maine’s own Olena Babek, these painters are from eastern New York and Pennsylvania. Their work is less saturated and generally warmer in tone than the work here in Maine.
Fog over mountain, by Carol L. Douglas, oil on canvasboard (available)
We Mainers have no hammerlock on high chroma. Go out to Santa Fe and paint with the folks from Plein Air Painters of New Mexico. They’re working in their own palette. It’s as intense as ours, but pushes the reds, ochres and blue-violets.
To a large degree, geography shapes our color choices. The light in Maine and New Mexico is harsher than that of the mid-Atlantic states, where skies often have high, filtered clouds. These create softer light.
A little (8×10) fantasia I finished in my studio on Tuesday (available)
Maine has more artists than you can shake a stick at, and many of us are ‘from away.’ Yesterday I was at a meeting and couldn’t help but notice the Long Island accent of one of my fellow artists. “Where are you from?” I asked. It turned out that all but one of us in the room were expatriated New Yorkers. Some have been here a very long time; others, like me, are recent transplants.
When I first moved to Maine, I was asked whether I’d moved because of the light. That’s certainly part of it. The Great Lakes regions of New York are actually temperate rainforests, they get so much precipitation. That means dark winters and many cloudy days. But that was only part of my decision. Maine art has a culture of color, and it appealed to me.
Midsummer, by Carol L. Douglas, 24×30, oil on canvas, available
Regional schools develop through example and imitation, and that’s a natural, healthy human interaction. But what should you do when you find yourself painting at cross-purposes to the people around you? I did that for a long time, and it was difficult. The misfit artist is under subtle pressure to change his style to match prevailing fashion. He doesn’t get the sales or the gallery space, and he starts to wonder what’s wrong with him.
The answer, of course, is that there’s absolutely nothing wrong with someone following his internal muse. The internet is a wonderful tool for getting out and finding one’s own tribe, but it doesn’t hold a candle to traveling in person. Go, take workshops, make friends in other communities, and validate your vision.