Tag: workshop

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Is an immersive art workshop different from a weekly art class?

Drying Sails, 9X12, oil on canvasboard, $869 framed.

My latest reel is here.

Some of us want a teacher who cheers us on at every step, someone who makes us feel seen and supported. Others do better with clear standards and firm instruction. Most good teachers are a mix of both, but it takes time to tease out what a student needs. That’s where a painting workshop comes in.

The fundamentals of painting are light and shadow, proportion, design, color, composition and meaning. A great painting workshop folds these lessons into the practice of painting itself.

In my Rockport Immersive Workshop you’re not just painting for a week, you’re diving headfirst into the whole world of being a painter. These extra experiences are what make this workshop different from a weekly class.

Main Street, Owl’s Head, oil on archival canvasboard, $1623 includes shipping and handling in continental US.

What does immersive mean in this context?

When I say my fall workshop is immersive, I mean it’s a deep dive into painting. You’ll be stepping fully into an artist’s world, nourished by relationships, context, and creative resonance.

I’m really asking you to live the plein air painter’s life for a week. You’ll set up your easel in midcoast Maine’s most iconic landscapes, from Camden to Owls Head. You’ll stretch your skills with figure study in the crisp autumn light. You’ll reflect on what you’ve learned with serious art conversations during demos and lunches.

We’ll visit the Farnsworth Art Museum to discuss plein air painting through history. Colin Page has invited us to visit the Page Gallery, to help map out the conversation between contemporary practice and our own creative path. Then on Friday, we’ll have a group show, with your paintings on my gallery walls—and a celebration to cap off our time together.

American Eagle in Drydock, 12X16, $1159 unframed includes shipping and handling in continental US.

What makes it truly immersive?

  • The extended duration allows ideas and skills to deepen and blossom;
  • Locations are not just scenic; they’re also historical and relate to movements in art;
  • Working alongside other passionate painters fosters creativity and learning that extends beyond instruction;
  • Seeing and discussing art in galleries and museums connects technical practice with where we stand in the great sweep of art history.
Beauchamp Point, Autumn Leaves, 12X16, oil on archival canvasboard, $1449 framed includes shipping and handling in continental US.

Because I keep my groups small, there’s plenty of room for one-on-one support. I explain, demo and then step back so you can try it yourself. The real goal isn’t to make you a copy of me, but to help you unlock your own ideas and refine your own painter’s voice.

If you’ve been waiting for the right moment to invest in your art, this is it. Spaces are limited, so grab your spot today!

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Monday Morning Art School: the overwhelming landscape

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

Last summer, one of my students arrived at my workshop with a problem I see frequently. She could draw beautifully from photos, but when she set up outdoors, she froze. “The landscape is overwhelming,” she said. “There’s too much going on. I don’t even know where to start.”

That’s the problem of infinite options, and at times it can be a problem for even the most experienced painters. That’s especially true in a new environment. There is a sense that the whole world is pressing in, demanding to be painted. If you succumb to that and don’t break the scene down, you end up fussing endlessly over detail. Or, by trying to include everything, you end up with a painting about nothing in particular.

Athabasca River Confluence, 9X12, $696 includes shipping and handling in continental US.

On the first day, I gave this student one simple assignment: big shapes first. We stood on the edge of a blueberry barren, facing a stand of spruces set against the immensity of the ocean and the sky. “Squint,” I told her. “What are the three biggest shapes you see?” She hesitated, then answered: “The sea, the sky and the trees.”

That became, in the end, both her composition and her focal points. Once she blocked these in on her sketch, she could move easily into a structured, sensible painting. She was no longer struggling to find a starting point in an immense landscape, and the mindless chatter of too much detail faded.

Coal Seam, 6X8, oil on archival canvasboard, $348 includes shipping and handling in continental US.

By the end of that day, she had a painting that was loose, fresh, and alive. More importantly, she had an epiphany. She realized she didn’t have to paint everything, only the essence of the scene. From that point onward, the workshop was a romp for her.

Every painter has hurdles like this—sometimes it’s drawing, sometimes color, sometimes just getting past his or her own nerves. The good news is: once you know the roadblock, you can break it down. That’s where good instruction and practice make all the difference.

But don’t take my word for it

Here are some of the comments I received after last year’s October immersive plein air workshop:

“The week started as an exercise in frustration, for all the varied reasons that make watercolor challenging. But Carol, with a sprinkling of her magic dust, managed to turn it into a high by Friday afternoon.” (Rebecca)

“It was a week of growth for me! Thank you, Carol, for a wonderful learning experience.” (Lynda)

“What a magnificent experience this has been to meet everyone, be a part of a week of learning, living, creating, with like-minded artists and a teacher with significant range… I loved our week together and would do it again in a heartbeat.  I learned so much from Carol, which was the icing.” (Jody)

Eastern Manitoba River, 6X8, oil on archival canvasboard, $348 includes shipping and handling in continental US.

“I had a wonderful week! I learned a lot and am left energized and motivated to put all my new-found methodology to work.” (Beth)

“Thank you for the abundant art wisdom, patience and willingness to give of yourself.” (Sandy)

“This is the first workshop I’ve attended without a 2–3-hour demo to start every day and it was WAY better!  The personal attention addressing my painting–where I’m at and where I’m trying to go–was so much more helpful than watching someone paint then trying to relate it to my work.  The demo at the end of the week solidified all that we had discussed all week. (Christine)

If you’ve ever felt overwhelmed when standing in front of a landscape, don’t put off tackling it. My October immersive plein air workshop is your chance to face it head-on.

But space is limited, and October will be here before you know it. Don’t wait—secure your spot today, and give yourself the breakthrough you’ve been waiting for.

Click here to reserve your place before it’s gone.

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Monday Morning Art School: the overwhelming landscape

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

Last summer, one of my students arrived at my workshop with a problem I see frequently. She could draw beautifully from photos, but when she set up outdoors, she froze. “The landscape is overwhelming,” she said. “There’s too much going on. I don’t even know where to start.”

That’s the problem of infinite options, and at times it can be a stumbling block for even the most experienced painters, especially in a new environment. There is a sense that the whole world is pressing in, demanding to be painted. If you succumb to that and don’t break the scene down, you end up fussing endlessly over detail. Or, by trying to include everything, you end up with a painting about nothing in particular.

On the first day, I gave this student one simple assignment: big shapes first. We stood on the edge of a blueberry barren, facing a stand of spruces set against the immensity of the ocean and the sky. “Squint,” I told her. “What are the three biggest shapes you see?” She hesitated, then answered: “The sea, the sky and the trees.”

Athabasca River Confluence, 9X12, $696 includes shipping and handling in continental US.

That became, in the end, both her composition and her focal points. Once she blocked these in on her sketch, she could move easily into a structured, sensible painting. She was no longer struggling to find a starting point in an immense landscape, and the mindless chatter of too much detail faded.

By the end of that day, she had a painting that was loose, fresh, and alive. More importantly, she had an epiphany. She realized she didn’t have to paint everything, only the essence of the scene. From that point onward, the workshop was a romp for her.

Every painter has hurdles like this—sometimes it’s drawing, sometimes color, sometimes just getting past his or her own nerves. The good news is: once you know the roadblock, you can break it down. That’s where good instruction and practice make all the difference.

Coal Seam, 6X8, oil on archival canvasboard, $348 includes shipping and handling in continental US.

But don’t take my word for it

Here are some of the comments I received after last year’s October immersive plein air workshop:

“The week started as an exercise in frustration, for all the varied reasons that make watercolor challenging. But Carol, with a sprinkling of her magic dust, managed to turn it into a high by Friday afternoon.” (Rebecca)

“It was a week of growth for me! Thank you, Carol, for a wonderful learning experience.” (Lynda)

“What a magnificent experience this has been to meet everyone, be a part of a week of learning, living, creating, with like-minded artists and a teacher with significant range… I loved our week together and would do it again in a heartbeat.  I learned so much from Carol, which was the icing.” (Jody)

“I had a wonderful week! I learned a lot and am left energized and motivated to put all my new-found methodology to work.” (Beth)

“Thank you for the abundant art wisdom, patience and willingness to give of yourself.” (Sandy)

“This is the first workshop I’ve attended without a 2–3-hour demo to start every day and it was WAY better!  The personal attention addressing my painting–where I’m at and where I’m trying to go–was so much more helpful than watching someone paint then trying to relate it to my work.  The demo at the end of the week solidified all that we had discussed all week. (Christine)

Eastern Manitoba River, 6X8, oil on archival canvasboard, $348 includes shipping and handling in continental US.

If you’ve ever felt overwhelmed when standing in front of a landscape, don’t put off tackling it. My October immersive plein air workshopis your chance to face it head-on. With its sweeping views and ever-changing light, Beech Hill is one of the best classrooms you’ll ever step into.

But space is limited, and October will be here before you know it. Don’t wait—secure your spot today, and give yourself the breakthrough you’ve been waiting for.

Click here to reserve your place before it’s gone.

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Monday Morning Art School: why is instruction important when learning to paint?

Beach erosion, 9X12, Carol L. Douglas, oil on canvas, private collection.

I’ve been both a student and a self-learner, so I speak from experience. Painting instruction provides structure, feedback, and foundational knowledge that self-teaching lacks.

Painting is made up of design elements like value, color, composition, edges, and brushwork. Instruction helps you learn how these elements work together.

Without guidance, we can spend years reinventing the wheel. A good teacher—and the emphasis has to be on ‘good’—helps you skip those detours and make real progress faster. You’re no longer guessing, you’re working with a purpose.

A good teacher can point out technical problems or compositional issues you wouldn’t notice on your own. Learning technique from an expert gives you tools to express your ideas more clearly and with confidence.

More than anything, painting is about learning to see—not just to recognize objects, but to observe light, shadow, shape, proportion, and color relationships. A good teacher trains your eye to notice what really matters.

I have three different paths to learning painting available now. Isn’t it time to choose one and get started?

Beach toys, 9X12, oil on canvasboard, Carol L. Douglas, private collection

Option 1: Workshops

Sea and Sky at Acadia National Park

This is my longest running workshop, in America’s first national park. This is a student favorite and personal favorite. Enjoy all-inclusive accommodation or join us as a commuter. August 3-8, 2025.

Find Your Authentic Voice in Plein Air, Berkshires, MA

The Berkshires are easily accessible from NYC and Boston, and a perfect blend of natural, historic, and agricultural beauty. August 11-15, 2025.

Immersive In-Person Fall Workshop, Rockport, ME

Spend a week of deep art engagement in Rockport, Maine, with fellow artists. This five-day session will open a new chapter in your journey as an artist. October 6-10, 2025

Beach Saplings, Carol L. Douglas, 9X12, oil on canvas, $869 framed.

Option 2: Zoom classes starting in mid-August

Don’t be confused because the names of these classes are similar; they’re two different approaches to the same question. The Monday night class is for those who need more guidance on the nuts-and-bolts business of painting. The Tuesday night class is for those who need critique and overall direction. If you have questions about which class to take, email me and we’ll chat.

What I Did on My Summer Vacation: For Intermediate Painters Mondays, 8/18 – 9/29 6-9 PM, EST

This class is perfect for anyone in an early or intermediate phase, or returning after time away. No pressure, no jargon—just encouragement and direction.

This relaxed, supportive class is designed for artists who want to build confidence and paint in a community setting. Bring any work you’ve done (even if it’s just sketches or photos!) and I’ll help you take the next steps. 

You’ll learn:

  • How to strengthen your summer paintings
  • Foundations of good composition and color
  • Tips for setting up and painting from life or photos
  • How to give and receive useful critique

What I Did on My Summer Vacation: For Advanced Painters Tuesdays, 8/19 – 9/30 6-9 PM, EST

This critique-driven class is for artists who are ready to refine their work and push it further. Bring in pieces for serious, constructive feedback—finished or in-progress—and use weekly exercises to rework, reframe, or respond to your summer output.

Each week offers:

  • In-depth group critique
  • Guided prompts to explore composition, editing, and intention
  • Focused painting time with optional instructor feedback
Fish Beach, Carol L. Douglas, 9X12, oil on archival canvasboard, private collection

Option 3: Work at your own pace, from your own studio

Seven Protocols for Successful Oil Painters

If you’re looking for more consistent, beautiful results in your painting, you need a repeatable protocol. In this online course, discover a system that will reliably improve your oil paintings. New for 2023, I’m offering a 7-part online course. Each class includes video content, quizzes, and exercises to do in your own studio at your own pace.

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Monday Morning Art School: maximize your painting workshop

Main Street, Owl’s Head, oil on archival canvasboard, $1623 includes shipping and handling in continental US.

The hardest thing for a teacher is the student who says, “yes, but…” to everything one tells them. I should know; I tend to be one of those myself. I know what it means to stubbornly protect what I already know, to rely on my own skills instead of opening my mind to new concepts.

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

Come prepared

Study the supply list, but don’t just run right out and buy everything on it. Every teacher has a reason for asking for specific materials. In my case, it’s that I teach a system of paired primaries. You can’t understand color theory without the right paints. Another teacher might emphasize beautiful mark-making. If you don’t buy the brushes he suggests, how are you going to understand his technique?

A tube of cadmium green that I once bought for a workshop and never opened still rankles. I never want to do that to my students. When you study with me, I want you to read my supply lists. If something confuses you, or you think you already have a similar item, email and ask.

(If you find yourself buying something for one of my classes or workshops and not using it, would you let me know? It means I’m missing something.)

Bring the right clothes. I send my students a packing list for clothes and personal belongings. But modify it for the weather you’re expecting. Don’t ignore the insect repellant and sunscreen.

The Surf is Cranking Up, 8X16, oil on linenboard, $903 includes shipping and handling in continental US.

Know what you’re getting into.

“How can you stand this? It’s all so green!” an urban painter once said to me after a week in the Adirondacks.

There are no Starbucks in Acadia National Park or on the clear, still waters of Penobscot Bay. If you’re dependent on your latte macchiato, you may be uncomfortable at first. But the beauty of America’s wild places more than makes up for it. (And somehow, there’s always coffee, even where there’s no cell phone reception.)

Take notes

There’s a sketchbook on my supply list; plan on writing as much as you draw. If you write down key points, you’ll remember them far better than if you just read my handouts.

Listen for new ideas and ask questions. If I can’t stop and answer them mid-stream, save them for after the demo. Participate in discussions and know that your voice is valued; I’ve learned more from my students than from anyone else.

Home Farm, 20X24, oil on canvas, $2898 framed includes shipping and handling in continental US.

Be prepared to get down and dirty.

I’m not talking about the outdoors here, I’m talking about change and growth. I am highly competitive myself, so it’s difficult for me to feel like I’m struggling. However, it’s in challenge that we make progress. Use your teacher’s method while you’re at the workshop, even if you feel like you’ve stepped back ten years in your development. That’s a temporary problem.

You can disregard what you learn when you go home, or incorporate only small pieces into your technique, but you signed up for the workshop to grow and change. You can’t do that if you cling to your own technique.

Connect with your classmates

There’s power in those relationships. Exchange email addresses. Keep in contact. Follow them on Instagram or Twitter. You’ll learn as much from each other as you will from me.

This was originally posted in March, 2023, but since I’m teaching a workshop starting today, I thought it was worth repeating.

I have just two workshops left in 2026! Reserve your spot:

Can’t commit to a full workshop? Work online at your own pace:

Seven Protocols for Successful Oil Painters

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Monday Morning Art School: preparing for a plein air painting workshop

High Surf, 12X16, oil on prepared birch painting surface, $1159 includes shipping and handling in continental US.

Plein air painting workshops? I’ve taught a few (gazillion). Like most good instructors, I’ll send you supply lists, clothing suggestions, and travel instructions before we set out. But there are intangibles that will help you have a better time.

Plan to be flexible. In March when I drove over the mountain to Sedona, AZ, the last thing I expected to see were inches of snow on the ground. But weird stuff happens. Weather, light and circumstances change. Adaptability is a great skill, and rapid change is what makes landscape painting both the most difficult and the most rewarding of all the painterly disciplines.

You can never plan for every eventuality—for example, my rental car from Phoenix had neither snow tires nor a snow brush. But if you set out with a broad range of stuff you’re likely to need, more or less you’ll have enough stuff to make a stab at almost everything. And your teacher or peers will have whatever you need to fill in the rest.

Sunset over Cadillac Mountain, oil on archival canvasboard, $869 includes shipping and handling.

Last year at Sea & Sky at Schoodic we knew we had a Nor’easter bearing down on us on the last day. We coped by preloading extra painting time earlier in the week. Everyone got lots of painting and learning in. We had the added bonus of watching a wicked storm crossing Schoodic Point, although there was no paint sticking to paper or canvas in that weather. Then there was the time Cassie Sano saw a bear.

Embrace imperfection: If you’ve ever wanted to learn to paint loose, plein air is your best teacher. You simply can’t fuss over the details in the field, especially in half-day exercises.

I tell my students they’re not in class to make masterpieces but to learn. Ironically, that’s when they often do their best work.

Ask questions: This is a hard one for me, because I’m not one for group sharing, myself. But instructors are there to help, and your peers often have valuable insights. Ask your teacher lots of questions. I’m usually grateful for them, because they reveal places where my explanations have been fuzzy or weak.

Surf’s Up is 12X16, on a prepared birch surface. $1159 includes shipping and handling in the Continental US.

Why should you take a plein air workshop?

Painting outdoors forces artists to observe light, color and form more carefully and accurately than working from photos. It’s far harder, and it teaches you to edit on the fly, so when you do work in the studio you aren’t slavishly copying your reference pictures.

Plein air challenges you to simplify and focus on essentials—composition, light, and value—leading to noticeable skill improvement.

Natural surroundings also spark fresh ideas and emotional responses that don’t happen in the studio. There are people joined by a common reverence towards nature, who are (overwhelmingly, in my experience) supportive, intelligent, and helpful.

Painting in public can be intimidating at first, but it builds confidence in your process and helps you become more resilient as an artist.

Lastly, we teach workshops in places that are beautiful—in my case, Maine, the Berkshires and Sedona—and wonderful to paint.

The Surf is Cranking Up, 8X16, oil on linenboard, $903 includes shipping and handling in continental US.

And sometimes there’s profit in it

Mark Gale sent me this over the weekend: “As I was prepping paintings for a pop-up market, I found myself including a couple from a painting series I took with Carol Douglas. Then I realized I have sold paintings from in-person workshops and other Zoom series with Carol. Yes, she will make you a better painter. She also has an uncanny ability to deliver intangible extras. Students from across the country meet, form relationships and stay in touch. Carol’s alums have an enduring community. And sometimes, that piece you thought was just a class exercise, ends up in the hands of a happy customer.”

I have just two workshops left in 2026! Reserve your spot:

Can’t commit to a full workshop? Work online at your own pace:

Seven Protocols for Successful Oil Painters

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Business for artists and painting in Sedona

Shadow Fingers, 11X14, oil on Baltic birch, $869 includes shipping and handling in continental United States.

First, the business

My friend Dennis used to tell me, “I’m an accountant with the soul of an artist.” That’s all very well, I’d counter, but every successful artist also needs the mind of an accountant. (Luckily, I never believed in that now-discredited left-brain, right-brain malarkey.)

On March 8-9, I’ll be presenting at the first Sedona Entrepreneurial Artist Development Program. This is open to Arizona residents aged 18 and over. The two-day intensive covers a range of topics from financial management and marketing to crafting an artist statement, developing work samples and selling artwork online. My part will be accounting for artists, and I plan to make it exciting.

Even if you hire someone to do your taxes, you still need to understand what expenses to record and what don’t matter. You need to be able to track your inventory, and, if you teach or run a gallery, how to protect yourself against liability.

Country path, 14X18, oil on archival canvasboard, $1,275 includes shipping and handling in continental US.

Painting in Sedona

Immediately following the Entrepreneurial program, I’m offering Canyon Color for the Painter from March 10-14. There are still a few seats left.

I’ve taught and painted in Sedona for several years and know great places for morning light, evening light, and all the light in between. We’ll meet on location at 9 AM, work steadily until 4, and then you’ll have the evening to hike, take one of the famous Pink Jeep tours, or try one of Sedona’s many fine restaurants. If the weather is poor—and it almost never is—we can meet in a classroom at the Sedona Arts Center (SAC).

Dawn on the Upper Red Rock Loop Road, 20X24, oil on canvas, $2,318 includes shipping and handling in continental United States.

The top five things I love about painting in Sedona

  1. The weather—there is a scene in PG Wodehouse’s Quick Service where the old prizefighter Steptoe is trying to convince his wife to give up on Merry Olde England. “What you want wasting your time in this darned place beats me. Nobody but stiffs for miles around. And look what happens today. You give this lawn party, and what do you get? Cloudbursts and thunderstorms. Where’s the sense in sticking around in a climate like this?”

    He was urging her back to California, but in Sedona it’s also almost always fine. After this winter, we deserve fine.

  2. The scenery—Sedona combines some very brilliant colors: the reds of Bell and Cathedral Rock, the lush greens of Oak Creek Canyon, the sere yellows of the chaparral, and the deep blue of the sky. Because it’s seldom overcast, shadows jump and the light shimmers. It’s just magical.

  3. The people—I’ve known Julie Richard, the executive director of SAC, for a decade. It’s the same with Ed Buonvecchio, my workshop monitor. The rest of the support staff, including Bernadette Carroll and JD Jensen (with whom you’ll have the most contact), are kind and terrifically helpful.

  4. The hiking—There are 400 miles of hiking trails in the Red Rock Ranger District on the Coconino National Forest. Then there are state and city parks. Sedona is a hiker’s paradise, and I swear Julie Richard can tell you about every single trail.

  5. The funny things that always seem to happen to me there—Painting in Sedona has led to extremely funny interactions between the punters and me. I don’t think that’s from ley lines and vortexes, but because in the grand scheme of things, plein air painters are just one more dot on the overwhelming landscape. Come prepared to smile.
Hail on the Cockscomb Formation, oil on Baltic Birch, $522 includes shipping and handling in continental United States.

I have just two workshops left in 2026! Reserve your spot:

Can’t commit to a full workshop? Work online at your own pace:

Seven Protocols for Successful Oil Painters

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Keeping my cool

Bonnie watercoloring on Pearl Street in Camden.

I’ve been teaching a plein air workshop this week, and the air is unusually hot and heavy for Maine. Being a lifelong resident of the northeast, I don’t like heat and humidity. In addition, I promised my students from Virginia that it would be cool here, and Mother Nature made a liar out of me. (To be fair, it’s still cooler than Virginia.)

Years ago, my friend S— moved to Maine from California with the assistance of her mother. She loved her new house until the first really hot day. She flipped the switch on her thermostat to ‘cool’ and waited. And waited. “Mom,” she wailed, “the air conditioning is broken!”

Beth and Libby painting on Beauchamp Point.

“Welcome to the real world,” her mom said. “You don’t have air conditioning.” My California born-and-bred friend had no idea that there were houses in America without it.

Yves painting a house in Camden.

Our old New England farmhouse doesn’t have it, and I generally don’t care. It’s insulated, which helps a lot. We use fans, we cross ventilate, and shower in cool water. That works great for in the house. But outdoors is a different story.

Outdoors, hydration is key, but I couldn’t keep ahead of it this week, as hard as I tried.

Jeanne-Marie achieving perfect balance on a rock.

Student show, Friday July 12, from 5-7 PM

Today will be warm but breezy, so it should be perfect weather to come by my gallery for a show of my students’ work from this week.

We are located at 394 Commercial Street, Rockport. If you’ve ever wondered what kind of  painting gets done in a workshop, this is an excellent opportunity to find out.

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What to wear to an art show

Prom Shoes 1, 6X8, oil on archival canvasboard, $435.

I own one skirt and one dress, but I must combine painting and public events over the next ten days. I Googled what to wear to an art show to give myself ideas. The consensus was:

Men should wear a blazer or sport coat, dress shirt, nice trousers or dark jeans, and polished shoes. For contemporary work, they should wear trendy shirts, slim-fit pants or jeans, and stylish sneakers or shoes.

Women should wear a chic dress, skirt or stylish pantsuit, paired with heels or fashionable flats. For contemporary work, they should wear fashion-forward dresses or outfits, statement accessories, and stylish shoes. I don’t own any stylish shoes.

Libby and Sharon discussing the Neolithic stone circle at Beech Hill (okay, I made that up).

This all reminds me of Chelsea back in the day. My goddaughter and I had gone to Brad Marshall’s and Cornelia Foss’ openings, and were catching our breath on the street. We started to count how many people were wearing those heavy black plastic glasses that were then so cutting-edge. We stopped at a hundred. These people were deeply concerned with what to wear to an art show. Being seen is some people’s raison d’etre.

In Maine, people are not such slaves to fashion. This is a state where we have flannel and Sunday-go-to-meetin’ flannel. At any rate, I don’t care what you wear, just mark these three dates on your calendar, and come out and support us.

I am very grateful to Coastal Mountain Land Trust for being so welcoming to my students.

Friday, July 12, 2024: Painting in Paradise student show, 5-7 PM

I’m teaching my first of this season’s workshops this week. Since my gallerage (my own coinage, and I like it) is now open, I will be showing their work on Friday evening from 5-7 PM.

The gallerage is located at 394 Commercial Street, Rockport, and we’d love to see you.

This group is keeping me alert, as they’re all very able. I go home every afternoon wondering how I’ll organize the next day’s material to keep them interested. (I never want anyone to go home feeling bored, or worse, ignored.)

If you’ve ever wondered what kind of painting gets done in a workshop, this is an excellent opportunity to find out.

Frequent hydration breaks are a must.

July 18, 2024: Camden Art Walk

Galleries and shops are open all through town. I’ll be at Lone Pine Realty, 19 Elm Street (next to Zoot Coffee). Last month’s Art Walk was rained out, and I went home with cookies, wine, and lemonade, none of which are on my diet. This month, don’t make me drink alone!

Tired painters heading down the hill.

July 19-21, 2024: Camden on Canvas

“Twenty-one notable New England landscape artists will paint en plein air.” I like repeating that, because I am one of those painters. We’ll be at sites in Camden and Rockport from Friday morning, July 19, to noon on Sunday, July 21. I haven’t decided exactly where I’ll paint, but I’ve narrowed it down to either Curtis Island (bring your dinghy) or Fernald’s Neck, unless I change my mind. You can find out exactly where I and the other artists are by visiting the Camden on Canvas Information Tent outside the library’s Atlantic Avenue entrance. Or check my Facebook or Instagram feeds.

The wet paintings exhibit will be open to the public at the historic Camden Amphitheatre, Sunday, July 21, from 1-3 PM. After that, there’s a reception and live auction from 4-6 PM. Tickets can be purchased online for $75 each or by calling 207-236-3440. Proceeds are shared equally between the Library’s Campaign for the Future and the artists.

I have just two workshops left in 2026! Reserve your spot:

Can’t commit to a full workshop? Work online at your own pace:

Seven Protocols for Successful Oil Painters

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Drying sails at Camden harbor

Drying Sails, 9X12, oil on canvasboard, $869 framed includes shipping and handling in continental US.

I have paintings in Camden for the first time in several years. They’re at Lone Pine Real Estate at 19 Elm Street, which is a very good location indeed. Rachael Umstead, the owner, is one of my church buddies and the mother of two very entertaining boys. She and her staff have made a great success of the office. It’s downright swank, something I could never manage in a million years.

Camden harbor is a terrific place to paint boats, and I love bringing students there. You can get a hot dog (or something fishy) and a soda at Harbor Dogs, which has been there for more than 50 years. Ambience? None, if what you’re looking for is fine dining. I’m more inclined to sit in the sun and watch the schooners, the little kids fishing, and the ducks.

That painting under way.

It’s always fun to paint at the harbor after a stiff rain. Sailors will be busy bailing out their dinghies and raising sails to dry. That creates a lovely geometry of docks, sail and other boats.

I painted Drying Sails with my pal Björn Runquist. We were practicing our chip shots for Camden on Canvas, although I no longer remember why we felt that was necessary. I do remember that I encouraged Björn to paint one of the schooners, who waited until he was well underway and then dropped her frills. Sorry, Björn.

Another day, another iteration of the same subject. (Private collection.)

Camden harbor is one of the must-paint places for my students at my July workshop, which is right around the corner. If you’re considering it, you want to register soon, since it’s both close and nearly filled up. My other workshops are listed below.) And if you’re coming from out of town, email me and I’ll give you some suggestions about where to stay—the Maine coast fills up fast during the summer months.

I have just two workshops left in 2026! Reserve your spot:

Can’t commit to a full workshop? Work online at your own pace:

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