|A lousy photo of a decent painting of the schooner Mercantile.|
Yesterday I posted that I was unhappy with the design of my Mt. Battie painting, and hoped to fix it by playing with the light. (I was hoping I could break the rigid horizontal at the bottom by making the contrast with the water almost non-existent.) My student Carol Thiel asked, “Why don’t you put some boats in the foreground to break up that line?” That was a far more intelligent suggestion than trying to force the composition. I did it and it worked fine, and now I have an iconic Camden painting, of the library, a steeple, Mount Battie, and some boats—and no need to take a circular saw to the board.
|Alison painting on a small canvas.|
But that required waiting for the tide to rise. In the morning, I painted the schooner Mercantile at anchor. I loved Old Glory’s reflection in the water, and I walked around the harbor trying to find the best angle. I settled on painting from a floating dock. This is the easiest place from which to paint but it is hard on the legs. The docks rock constantly. So after five hours or so, I retreated back up to dry land.
|Camden harbor with correction.|
There I was happily surprised by my friend Alison Hill, a painter from Monhegan. She set up near me with an enormous jute canvas. In less than an hour she’d limned out a lovely painting of the harbor, and we’d had a great chat.
|A little tailgate critique. Nice, nice group of artists.|
Tomorrow, I have choices—a farmer’s market or the Mighty Megunticook?
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!