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Lake effect snow

Winter lambing, oil on linen, 30X40, $5072 framed, includes shipping and handling in continental US.

My home town of Buffalo, NY is the most famous lake-effect snow city in North America, but it’s hardly unique. Erie (PA), Rochester, Syracuse, and the small city of Oswego regularly get buried in snow. The Great Lakes are very deep, so they don’t freeze solid in winter. Arctic air sweeps across them, picking up moisture that then drops in deep blankets onshore. I miss those blizzards very much.

There are other, smaller snow plumes that are not as well known. One of these is in Orleans County, New York. I spent two decades driving weekly from my mom’s house in Niagara County to my house in Rochester. That took me straight through the Orleans snow belt.

Wind sculpted snow in Orleans County, NY.

As my children can recite by heart, you don’t drive in snow country without a candle and matches, bottled water, a chocolate bar, car blanket and collapsible shovel. People have frozen to death in their cars in Buffalo.

The drifts that formed the basis of ‘Winter Lambing’.

It was on a bitter winter afternoon that I found myself flagged down by an Orleans County Sheriff’s Deputy. She directed me around an accident and warned me that the road ahead was barely passable. The wind was whistling along the long, flat fields of the Niagara-Orleans lake plains. There, wind can pick up already-fallen snow, reducing visibility, and driving it into drifts as hard as cement. When these form across a road, your steering wheel can be wrested right from your hands. Road salt doesn’t work in extreme cold, which is perilous in icy conditions.

Bad parking job.

I’m an old hand at winter driving, but I slowed right down. At one point, I stopped entirely, which is when I saw the drifts above. At the time, I was thinking through a solo show at Davison Gallery at Roberts Wesleyan College called God + Man: Paintings by Carol L. Douglas, about which I wrote last week.

James Herriot wrote about the bone-chilling work of the Yorkshire veterinarian, particularly the grueling task of lambing during blizzards on the high Dales. Not only were shepherd and veterinarian at risk, but newborn lambs were in danger of freezing or predation.

I wanted to paint that feeling of intense cold at high elevations. At first glance, viewers see these shapes as mountains; it’s only when I tell them the backstory that they realize they were a series of drifts just a few feet tall. Context is everything when it comes to reading a painting, and the artist has lots of latitude in repurposing reference pictures.

It might look soft, but that stuff is hard as cement.

God + Man was about the relationship of God and man in the natural world. This painting was based on Isaiah 1:18, which says: “Come now, and let us reason together,”
Says the Lord,
“Though your sins are like scarlet,
They shall be as white as snow;
Though they are red like crimson,
They shall be as wool.”

The final workshop I’ll be teaching in 2024:

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What sells?

Sea Fog, Castine, 9X12, $869 framed.

“Interesting that you say ‘I have come to recognize that there are certain subjects that will languish, and I no longer seek them out.’  You mentioned gray days. What other subjects do you find difficult to move?” a reader wrote in response to Wednesday’s post.

For the record, it was Ken DeWaard who doesn’t like gray days. I love fog, especially Maine fog, which seems to have an intelligence of its own. I don’t have a particular problem selling fog paintings, especially when there are boats involved.

Snow at Higher Elevations, 11X14, available, $1087 framed

On the other hand, I have never had much success selling snow paintings, although they can be very interesting as they invert typical light relationships. I’m from Buffalo and live in New England, so I know snow. I’ve painted enough of it. But I only go out in winter to keep Ken and Eric Jacobsen company. Just as Ken has a closet full of grey days, I have a closet full of snow paintings.

Perhaps my audience is sick of shoveling it. However, the late, great Aldro Hibbard lived and worked in Rockport, Massachusetts. He made a fine business of painting snowy Vermont landscapes.

Buyers tend to associate certain painters with certain subjects. Colin Page paints boats, children, and complex still-lives. Charles Fenner Ball paints pastorals and trains. Mary Byrom paints the marshland along the southern Maine shore. Whether or not it’s fair for the marketplace to pigeonhole artists, it happens.

Île d’OrlĂ©ans waterfront farm, Saint-François-de-l'Île-d'OrlĂ©ans, Quebec, 8X10, available unframed, $522

I will occasionally paint an old tractor or historic old farm. These, too, sit on my shelves, but Kari Ganoung Ruiz and Jay Brooks are able to move them along just fine. They both capture the mystery of lost time in these paintings, whereas I am just painting objects.

On the other hand, I sell a lot of boat paintings. A lobster boat is just a tractor of the sea, so why does my audience find them romantic and a Massey-Ferguson prosaic? Perhaps because nobody comes to Maine to look at old tractors, but they do go to central New York for them.

Glaciar Cagliero from Rio Electrico, 12X16, $1159 unframed, available.

I love rocks. They tell the story of a place, they’re fascinating to observe and classify, and I find rock outcroppings easy enough to sell.

However, I also appreciate farm animals, orchards, and hayfields. However, I find it harder to shift these subjects. The farther I get from the farm country of my youth, the less it compels me. Somehow that’s transmitted to my audience, although I can’t tell you how.

What sells depends on the obsessions of the artist. If you love, say, butterflies, your passion will be transmitted to the canvas and buyers will respond. If you are indifferent to rain, it will show, and your rain paintings will languish. If you spend lots of time painting boats and very little time painting classic cars, your boat paintings will be fresher and livelier.

I frequently marvel over this real estate listing, which features large paintings of meat on the wall. Why anyone would paint them, and why anyone would buy them, escapes me. But truly there’s a market for anything, if you’re passionate about it.