Category: Rye Arts Center

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Blown off course

"Shelter," by Carol L. Douglas

“Shelter,” by Carol L. Douglas
When I was younger, my dream job was to be a New York City cabbie. At that time, there was no GPS, so cabbies had to learn the city by heart. Driving in the city was like rolling around in a giant pinball game, and it was fun. Either Maine or old age has softened me up. Coming into Queens on Friday night, I found myself taking the innumerable small rudenesses personally, instead of answering them in the spirit in which they were intended.
In Queens the traffic problem is exacerbated because there’s no way off Long Island except through New York City. There have been Long Island Sound bridges and tunnels proposed since the 1950s, but they never get built. I’m not sure a bridge would do much except allow the metropolis to slop further out of its jar. It sure would change the view.
Brad Marshall and his painting.

Brad Marshall and his painting.
Long Island Sound is an estuary. That makes it an important feeding, breeding and nursery area for migratory fish and birds. It is also among the earliest and most densely settled areas in the United States. Somehow that tension between 400 years of human habitation and nature works to make it a very beautiful place.
I went to Rye intending to paint boats, which are one of my favorite subjects. The American Yacht Club has an anemometer, and on Sunday, winds were gusting up to 45 mph. My canvas would have made a nice little sail that sent my easel flying into the Sound. Instead, Brad Marshall and I hunkered down in the lee of the building, giving us a view of the beach and its riprap breakwater but, sadly, no boats. Still, we both managed to turn out credible compositions.
The American Yacht Club owns this terrific painting of tugs by Jack L. Gray.

The American Yacht Club owns this wonderful painting of tugs by Jack L. Gray.
Between painting and the reception, artists mostly want to stay out of the way. Luckily, the yacht club has a great selection of art, including a terrific model of the America and a lovely painting of tugs by Canadian maritime painter Jack L. Gray. We pottered about peering at things and were very happy.
At the reception, a couple told me that my painting reminded them of the Group of Seven. Tom Thomson and the Group of Seven are my artistic ideal; I think and write about them frequently. It turns out that my new friends are Canadian, and know my home town of Buffalo very well. My painting went home with them and I headed back north, grateful to be driving gently once again.
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Requiescat in pace

Playland Beach View, Seth Nadel (done at Rye Painters on Location)
Yesterday my pal Crista Pisano texted me that a mutual acquaintance died suddenly. He is Seth Nadel, a landscape painter from Highlands, New York. He died doing something he loved—playing tennis—but that doesn’t negate the fact that a fine painter and caring teacher has been taken from the Hudson Valley art scene.

Times Square, Seth Nadel
I did not know Seth well, but we had a passing acquaintence: we did the Rye Art Center’s Painters on Location together for years. Seth had a BFA from Cooper Union and studied at the Art Students League. He taught painting at the Barrett Art Center in Poughkeepsie.
While I’m celebrating Christmas this afternoon, I will be remembering not only my loved ones who have passed away this year, but my friends who have sustained similar losses.

Hudson Valley View, Seth Nadel (done for Rye Painters on Location)
The peace of God be with you today and always. Happy Christmas.

Let me know if you’re interested in painting with me in Maine in 2014 or Rochester at any time. Click here for more information on my Maine workshops!
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Give it to me, baby… for free!

Rye’s Painters on Location is a well-run art fundraiser, one which I’m honored to participate in.
Recently, Tim Kreider wrote a screedin the New York Times about a problem every artist experiences: the endless requests for donations of work to non-profits.
Having a bit of the Blue-Haired Church Lady in my makeup, I’m pretty free and easy about this, even though I know that paintings often sell at fundraising auctions for a fraction of their value. The ones where they ask for a painting are, frankly, the easiest—I just pick something from my inventory, send it, and forget about it. The ones where I’m asked to do something are a bit harder, since time is always in short supply. At one point last summer I was juggling three such requests. It was, frankly, a bit much, especially as I looked around a crowded banquet hall and realized the caterer, the band, and the staff were all being paid, while I was doing my thing for free.
Marilyn Fairman, Brad Marshall, and yours truly painting at Rye’s Painters on Location.
These events are often pitched to artists as “career-enhancing” but in truth they are usually the exact opposite. Our work sells for a fraction of what it commands in the private market, depressing our overall sales record. Often, it’s the wrong audience anyway. I’ve seen PGA tickets go for several times their value while paintings languish at their opening bid. That’s really no surprise when the crowd at the event is a golf-watching rather than an art-buying one.
Another well-organized fundraising event: Camden Plein Air.
Despite this, there are in fact some excellent fundraising art sales out there. These treat artists like professionals and pay them a legitimate price for their work. Rye’s Painters on Location and Camden Plein Air are two such events. (It should come as no surprise that both are organized by arts professionals.)
Ask yourself:
  • Does it raise money for something I really care about? I forgive a lot when the cause is near and dear to my heart. Likewise, I bend rules like crazy for my friends;
  • Is it an art-specific auction? You can’t expect a general auction to bring out many art-lovers, so paintings never sell well at these events;
  • Are they giving a percentage of the proceeds back to the artist? It costs money to participate. If the staffer organizing the event is being paid, you should be paid too;
  • Is it juried? You want your work showcased with other work that is as good as or better than yours.

And remember: you, the artist, cannot deduct the fair-market value of that painting you donated. (I’m not an accountant; I just speak from the bitter experience of an IRS audit.)

Let me know if you’re interested in painting with me in Maine in 2014 or Rochester at any time. Click here for more information on my Maine workshops!
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Rye Painters on Location, 2013

Regatta off Milton Point, 24X20, oil on canvasboard. A terrible photo of a decent painting.
Rye Arts Center’s Painters on Location is back and in fine form. I love this event—I get to see good friends, paint serious plein air, and then attend a swank little reception and auction. In general, Rye Arts Center does as much as is humanly possible to take care of its artists, and we appreciate it.

Brad chatting with another artist.
This year I painted with my pal Brad Marshall. It made for a great time and for better paintings from both of us—I think—since we coached each other over the rough patches. I saw Linda Richichi, Marilyn Fairman, and Kathy Buist, and met some new friends. (If I have any twinges of regret, it’s that Bruce Bundock sat this year out; he’s buried prepping for a portrait show at Vassar.)

Painting with Marilyn Fairman and Brad Marshall. Marilyn was blessed by a seagull shortly after this photo was taken; mercifully, it missed her canvas.
This year, I had an anonymous telephone bidder putting in bids for my auction piece. I can’t say that’s ever happened before, and it lent a fun twist to the evening. Since painters have collectors, I thought I’d guessed who the anonymous bidder was, but it turns out my guess was wrong. Now I’m just baffled. But if you know, don’t tell me; I enjoy the mystery.

Painting with Brad on a luminous autumn day. Perfect!
One more workshop left this year! 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!

My painting in its frame.
The bidding public. Rye supports its arts center.
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Seeking beauty in the built environment

Northbound on 10th, 16×22, acrylic, by Patti Mollica
A lot of painters focus on either the natural or the man-made environment; I truly love painting both. In the built environment, I see both the best and worst of mankind. In the landscape I see God’s hand-print. I love the intersection of these two elemental forces.
I recently asked my pals who are doing Rye Art Center’s Painters on Location with me to let me post their silent auction pieces on my blog. Today’s contribution is by Patti Mollica. She captures the excitement of New York’s streets as well as anyone I know.  

Interested in my Where the Sea Meets the Sky Workshops? October 2013—the 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, or email Lakewatch Manor!
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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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I’m honored to have been selected to participate in the 2013 Castine Plein Air Festival

The first year I did Rye’s Painters on Location, I painted a lovely, long, low sailboat from a spot overlooking Mamaroneck Harbor. Living as I do in the Great Lakes basin, I’ve drawn and painted boats frequently enough. What I had overlooked was the tide, which confused me with constant angle changes.
My last painting for Rye’s Painters on Location. Mamaroneck Harbor, 18X24, oil on canvas. 
Mercifully, the boat’s owner was among the bidders that night and I escaped with my pride intact. The last few years I painted in that event, I worked in the same harbor, but from floating docks. This was much easier from a drafting standpoint but tough on the legs after two days.
Penobscot view, February 2013. Not Castine proper but close enough. How much more beautiful this will be come summer!
Such are the vicissitudes of painting in a plein air event. You can think you understand the subject, but still be confused at the point when your brush hits the canvas.
Last February, I took my family on an odd little pilgrimage up Castine way, looking for the West Brooksville childhood home of one of my chums. It was unutterably beautiful in February; imagine how lovely it will be in July!
Off-roading in Holbrook Island Sanctuary State Park, in my little Prius. Take that, you 4-wheel-drive vehicles!
Every inch of the coast of Maine is simply beautiful. One would be hard-pressed to come up with a favorite stretch of rock-bound coastline. And even within particular regions, there are so many choices! What will I paint? My pal recommended Our Lady of Holy Hope on Perkins Street, or sunrise at the Tidal Pool, or the Main Square. Any other suggestions?
At any rate, come watch me paint in Castine on July 27, and be sure to say hi when you see me. Or take my Maine painting workshops in the Rockland area—once a month through the summer months (check herefor more info, or email me). 

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The truth is, I have no friggin’ idea what I’m doing.

Spring in Glen Park, 10X12, oil on canvas, by little ol’ me.

I once watched Lee Haber finish a lovely painting at Rye Painters on Location in less time than it took me to fall over my easel. I really admire plein air painters who never seem to “flail around” (as my pal Brad Marshall once memorably called it). I imagine they have a protocol by which they approach their painting; it allows them to work fast and focus on what they’re seeing rather than the mess they’re making.

I have a protocol too, but it’s unfortunately dynamic. I’m a restless soul; if I master an idea, I need to move on to the next idea. It’s why I never end up with highly-finished paintings; when the conclusion is obvious, I move on. That means on some level I’m constantly flailing. (This is not a trait I admire in myself, by the way; I think it would be nice to just luxuriate in the paint once in a while.)
My masterpiece: that’s my 20-year-old daughter, studying for her physics final.
This is not to say that nothing stays the same: in oil painting there are some fairly inviolable rules that only a masochist or a neophyte would break. But there many things that you can mash up, and it seems like I’m constantly running through my bag of tricks to find some exciting way of fleshing out a thorny passage. Sometimes it works and sometimes it makes a terrific mess.
Two parrots stopped to watch me paint. “I love that,”
said the one on the left. It’s because of the green, I think.
 This only matters when I have an audience, since in the privacy of my own studio I dump all my sketches in a towering heap and ignore them. Generally when I paint in public, I am very conscious of the people around me, and I end up spending lots of my time talking with them. This is one of my Favorite Things, but I also unconsciously tend to paint “prettier” when painting for an audience.
Today I visited lovely Glen Park in Williamsville. Since it is a busy suburban park, I even combed my hair in expectation of chance encounters with strangers. But those crazy Buffalonians were excessively respectful of my privacy.
My fantastic paint box, and my fantastic ball cap hair.
Good thing, because I was rapidly down another rabbit hole—my favorite place to be, of course.  I never know if a field painting is “good” when I’m working on it, or even immediately after finishing it. (And I think most other painters don’t know either; they just know if the painting they’ve done matches their idea of how they’ve painted so far.) I simply see a series of problems to be solved. In this case, there was a triad of trees whose branches paired with the little creek to enfold the bridge into an ellipse. Had I had a little more time, I would have worked more carefully on the structure of lights and darks in the unfurling leaves. But who ever has enough time?
There are still spots open in our mid-coast Maine plein air workshops! Check here for more information.
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Rye Art Center 10th Annual Painters on Location

Boston Post Road Bridge, Mamaroneck, 24X20, oil on board

The Rye Art Center Painters on Location is my favorite event of the year, a fundraiser for an excellent organization that takes good care of its artists. It includes many excellent New York regional plein air artists, and it’s always wonderful to see my friends and paint in such a lovely location.


This is a site that’s intrigued me for several years. It’s a creek that releases into the harbor. Nothing exotic about it, but I love the sense of mystery about what lies behind that bridge.

Here is my setup, below the Boston Post Road in Mamaroneck, looking back at a bait shop and its boats. I am working very large for an on-site painting—about 24X20, so I have my pochade box and another easel. They are tied together with a bungee cord and on this day I was glad for the weight of that guerrilla box, as the wind threatened to take my painting into the harbor.


Boats in a tidal harbor present a dilemma: either you’re on a floating dock moving up and down with the boats, or you’re on land watching them go up and down (and compensating for the constant changes). I prefer to be on the dock. But it makes for an impressionistic painting, since floating docks are constantly rocking and rolling.

There are about a hundred paintings I could do in this location, including this wonderful stone wall.


This is at the end of my first day, about twelve hours into the painting. Frankly, the lighting scheme was more coherent at this point than in my final painting… something that happens when you paint in the same site for two days.

End of my first day painting.

And here is Bruce Bundock with his fine painting of Rye Nature Center—by a fluke hung right above my painting.

Bruce Bundock with his lovely painting of Rye Nature Center.

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10th Annual Painters on Location, Rye NY

Low Bridge ( Erie Canal at Gasport)
30×40 inches – Oil


The Sentinel Tree (Keuka Lake)
30×40 inches – Oil

Here are my two submissions to the silent auction at Rye, NY this month. They can be bid upon long distance: contact Emilia Del Peschio at [email protected] or at (914) 967-0700 x33.

Both are 30X40, framed in gilt hardwood. The first is a sentimental painting for me; that’s where I spent the better part of my childhood and the years after my oldest kids were born, and that’s my (now adult) Julia on her bike in the painting. The vineyard near Keuka is one of those magical places—they grow vines on rock shingle that one can’t imagine supporting anything.

To see other work from this fine show, go here. And if you’re in the Long Island Sound region on September 24 th and 25th, come watch the artists at work.