High Bush Blueberry, Spring

Worked more on the bottom portion.  Don't want to distract from the bush, but need to bring the eye into the plane.  Everything seems scattered and no focal point.  

High Bush Blueberry, Spring

Began work on the lower edge with some small blueberry and dead branches.  Still not satisfied with the leaves in the upper left.

High Bush Blueberry, Spring

I laid in some of the blueberry leaves.  They may be too heavy or patterned in the upper left.  The eye gets held there.  

High Bush Blueberry, Spring

Short working time today.  Glazed over the pine and softened it a bit. Added a couple of trees  in the foreground.

High Bush Blueberry, Spring

Today I worked on adding values to the branches.  The pine was too wet to work.  

High Bush Blueberry, Spring

I darkened the pine in the middle ground today thinking it would be a better contrast to the eventual spring green of the bush.  But the intensity brings it forward too much.   And it creates too great a distance between the middle and far grounds.  Two ideas:  glaze the pine with a light tint or put in a transition between two grounds, perhaps both.  

High Bush Blueberry, Spring

Today I tried another approach at the pines in the far ground.  I won't really know what's best until I put in the bush's spring leaves.

High Bush Blueberry, Spring

Today I worked the middle ground trying to get the green to look low growing and to recede into the far ground.  It's getting there on the left, I think.

High Bush Blueberry, Spring

I've intensified the blue of the sky.  I'm trying to foresee how a the spring bright green leaves of the bush will contrast and stand visually free of the ground.  The low blueberries in the middle ground need some dark hues add to create a more open look.  Currently, they are too hedge like.  

High Bush Blueberry, Spring

High Bush Blueberry, Spring
34"x24", Oil on Board

Just a little progress today on the positioning of the limbs and considering the dark color.  Should it be cool or warm?  Right now it is a cool mixture of prussian blue and lamp black.  This may work against the warm ground.

High Bush Blue Berry, Spring

High Bush Blueberry, Spring
34"x24", Oil on Board

After setting this painting aside for almost 16 months, I took it up again this week.  It's been hanging in the studio and always in my considerations.  I've been frustrated with a small painting that is just not coming together.  Now, I am working on details of the small painting for a few minutes.  Then, I move on to this painting which allows me more expressive use of the brush.  

Looking Up

Looking Up 2

Looking Up 1

Looking Up 3
7"x 11"

Rather than looking toward the horizon for clouds, 

I looked above the trees almost directly overhead.

Historic New Bedford

Center Street, Oil on Board

I've been working on this little 12" x 14" painting for a while now.  The architectural details have slowed my progress and I still have much to do.  Centre Street is part of the National Park and leads down to the Acushnet River.  Link here to read more about the history.

Fun Stuff

There are two feral cats living around my house whom I tend and whom we've named Maud and Grayface.  We think Maud may have been someone's pet at one point.  I have been writing my 10 year old nieces about her.  For their birthday I decided to give them paintings of her with accompanying little stories.  

Maud, looking through the Window, dreaming of a home.

Maud's dream of a home.

Field of Queen Anne's Lace, Hancock Village

This piece will be at the Judith Klein Gallery, New Bedford for the month of October.  

Queen Anne's Lace, Hancock Village

15 1/2" x 28"  Oil on Board

Minkcove Fall

10" x 16" Oil on Board

This little patch of beauty is down the road from my studio and looking out over Minkcove toward Little Harbor, which is part of Buzzards Bay.  The marsh grasses always set the seasons through their changing colors.  

Ely Cathedral

The Ship of the Fens, Ely Cathedral is one of those beautifully melded Norman and Gothic structures.  

Durham Cathedral

Durham Cathedral has these massive Norman columns.  There are 3 different patterns used on the columns, carved at the quarry and assembled on site.  After the lightness of the Gothic Cathedrals, the Norman structure is pleasing to the eye.   

Desperately Seeking Rebus

Wayne and I both read the Ian Rankin's Rebus series, which is set in Edinburgh.  So, we set out one afternoon to find the Oxford Bar where Rebus regularly soothes his malt yearnings.  It was a small, small bar area with a few locals quietly scrutinizing our entrance. A small ante room offer reprieve from the glares and a spot to have a pint and laugh about life.  

Yorke Arms Cottage

The Yorke Arms is a Michelin starred restaurant and an inn located in Yorkshiredales.  We stayed there one night.  Behind the Arms and across a wonderfully coffee colored brook (from the peat and heather) sits this quintessential ivy covered English cottage.  Behind it the hills roll in hues of green segmented by stone walls corralling sheep.  Can you stand it?  The yard of the cottage falls down toward the brook where fern and flora bloom.  

Salisbury Cathedral

Salisbury Cathedral is the most uniform of the English Gothic churches having been completed in just 38 years.  It also boasts the tallest spire in the UK and one of 4 copies of the Magna Carta.  It was built without the constraints of older churches preceding it, too.  While we were visiting the choir was practicing for Evensong.  These structures are so massive and tall that it is difficult to choose a point of view.  And I'm working without an eraser.  Excuses, excuses!

Prior to visiting Salisbury, we stopped at Stonehenge, another reverent place.  The similarities in how man sought to create a sacred space is interested.  Both offer inner spaces surrounded by narrower ambulatory spaces.  It was wonderful to sit and draw Stonehenge; to etch it into my memory.

Communing with Will

The Garrick Pub is a timber framed building dating back to the 1400's. It is reputed to be the oldest pub in Stratford-Upon-Avon.  It has nice curved walls and tables.  We enjoyed a pint while Mr. Shakespeare's likeness watched over us.

Christopher Wren

The Ashmolean Museum in Oxford has a wonderful collection of Pre-Raphaelite paintings.  I chose to draw a 1630 bust of Christopher Wren by Edward Pearce because Wren is responsible for some of the most beautiful architecture in England and the world.  He rebuilt 52 churches after the Great Fire including St. Paul's and the south front one of my favorite, Hampton Court.  Plus, he was educated in Oxford.

Oxford, UK

I'm in the UK for the next month and will occasionally post some drawings (I hope).  The King's Arms, pictured here, is a typical English pub located diagonally across from the Sheldonian Theater.  It is very warm with rich, dark, walnut colored paneling.  Custom is to choose from the menu, order and pay at the bar, and await delivery.  We had excellent steak and ale pie.

Little Harbor

I'm working on this little painting along side the Field of Queen Anne's Lace.  It is 10"x16" oil on board view of the the Little Harbor with Buzzards Bay beyond.  

Field of Queen Anne's Lace

The horizontal band of green in the center of the picture plane marks the end of the Queen Anne's Lace field.  Beyond that lies hay of some sort.  Queen Anne's Lace is also called wild carrot.  It was introduced from Europe and it is from that plant the carrots we eat today were cultivated.  One can eat the QAL's tap root.  

Queen Anne's Lace, Berkshires

There are gentle, undulations in the middle ground field that will show nice variations in the color.  This lies behind the lower half of the painting, which is where all the queen anne's lace will be.  

Queen Anne's Lace, Berkshires

15 1/2" x 28" Oil on Board, Queen Anne's Lace

First day back in the studio after the Berkshires.  This piece is a response to all the glorious Queen Anne's Lace that was blooming there.  The field will eventually be filled with the plant.  In the distance is the Hancock, MA Shaker Village with the round barn and a few other out buildings.  In my head, I keep coming back to Monet's Field of Poppies.  

Norman Rockwell Museum

Marooned by Howard Pyle

The Rockwell Museum is holding a show of Howard Pyle's illustrations.  Pyle was in illustrator and children's book author during the fin de siecle.  Rockwell studied and admired his works.  Pyle was also N.C. Wyeth's teacher.  You can see the influence on Wyeth in the above painting.  Pyle's work is extremely varied.  He was a true illustrator in the sense that his color, composition, style would adapt to the time and intent of the story.  Strictly considering the works divorced from the story, his pieces done in a Pre-Raphaelite style were strongest.  The color popped.  To bring home the point of his eclectic style, the museum hung works by other artists that Pyle observed and mimicked.  The best of these was an Audrey Beardsley and The Great Wave of Kanagawa by Hokusai, a work I had previously seen only in reproduction. For a comprehensive look at Pyle, visit Ian Shoenherr's blog.

Sanford Smith Fine Art

Untitled by Michael Zelehoski

Cape Light by Warner Friedman

The Sanford Smith gallery in Great Barrington paired two regional artists who complemented one another and gave greater meaning to the show's title, Double Vision.  Zelehoski's work is composed of found wooden objects that are embedded in flat panels.  Friedman is a more traditional landscape artist but uses shaped canvases.  So, if you can imagine the canvas above literally shaped like the railings, you have the picture.  They both address the idea of perspective, fooling the eye, the idea of canvas as window.  I found them both to be equally abstract and realistic in their presentations.  I think Zelehoski's work has more integrity and asks more of the viewer.  Friedman somehow wants to do all the work for me when it comes to suspending my doubt.  

Hancock Shaker Village

Hancock Shaker Village

The United Society of Believers in Christ's Second Appearing are a religious sect more commonly known as The Shakers, given for the dancing they partake in during services. They live communally and are amazing at invention, music, egalitarianism. The only remaining members live in a Maine commune. Since we had seen Borrowed Light at Jacob's Pillow on Sunday, we wanted to visit the Shaker Village in Hancock, MA.  It is a beautiful setting in which most of the buildings still stand in pristine condition.  The Shakers have not lived in the village since the 1960's.  We heard nice talks in the round barn and the dormitory about the structures and life in general.  The dormitory dining room had 2 interior windows, borrowed light.  
All Shaker design begins with function.  Once the function is perfected, the form follows. While their inventiveness in utilitarian architecture, tool design, and manufacturing is impressive, it is their woodworking that most appeals to me.  It is a beautiful, aesthetically pleasing form of clean, smooth lines. A table foot does not need a ball and claw to assure it's stability.  A simple, angled leg ends on a point with the minimum area needed to do the job. Each piece holds the maker's hand in its appearance.  I can literally see the man at work, sanding, oiling, joining.   The warm, smooth wood of the furniture, built in cabinets, etc shimmers with a depth of color and screams to be lovingly rubbed.  

Hancock Shaker Village Common Dining Room

 'Tis the gift to be simple, 'tis the gift to be free

'Tis the gift to come down where we ought to be,

                                                And when we find ourselves in the place just right,

'Twill be in the valley of love and delight.

                                                         When true simplicity is gain'd,

To bow and to bend we shan't be asham'd,

                                                       To turn, turn will be our delight,

Till by turning, turning we come 'round right. 

by Elder Johnson

Mass MoCA

Mass MoCA in North Adams is one of the largest centers for contemporary visual and performing arts in the US. It is located in a converted factory building, which offers huge display spaces. We went primarily to see the "Oh, Canada" and "Invisible Cities" shows. Fortunately, a tour of all the galleries was beginning as we arrived. It was nice to get an overview of the space and introductions to pieces in each gallery. The most interesting installation was the Sol Lewitt retrospective. Please visit this site to understand the magnitude and importance of this show. 65 artists and students spent 6 months installing the work which will be on display for 25 years. Lewitt had gifted his work to Yale University late in his life. Yale, realizing their space limitations, sought out a loan agreement with Mass MoCA, and LeWitt agreed. He visited and collaborated on the placement and configuration of the spaces prior to his death. My House Critic and I debated the universal and eternal question, "is that art?"  The debate was not over the finished work, but over the fact that one purchases the LeWitt diagram and instructions, not the mural. It does blur that line between design and fine art.  But isn't all art blurry these days. And it is far from unusual for a noted artist to have studio assistants apply paint to surface.  What we are unclear on is the extent of detail in LeWitt's design.  Did he dictate the color mixture, the exact size of each line?  

Of the two other shows, I liked The Mountain by Graeme Patterson in the Oh, Canada show.  My best description is "art within art within art".  If you've ever read The Mouse and His Child by Russell Hoban, you will recall a passage where the Mouse and his child are stuck in the bottom of a river.  They can't move; all Mouse can do for days is stare at an empty dog food can in front of him.  The label on the can pictures a dog holding the same can with the same label.  This image repeats itself ad infinitum.  All the Mouse can do is try to find the last image of the dog holding the dog food can. Everything in The Mountain relates to everything else. Patterson describes it as the first of four installations that focus on his personal experience with male bonding.  It is very witty.  
Coming in as close second favorite was the entire Invisible Cities show, particularly Melting Pot by Miha Strukelj.  The concept is inspired by Italo Calvino's novel of the same name in which imaginary conversations take place between Marco Polo and Kubla Khan.  Polo describes his voyages and the cities to Khan.

One note.  I noticed that a lot of the sculpture was formed with found materials, mostly manufactured.  For example, Patterson used white sheets, afghans to represent snow atop his mountain. I was so happy to have finally seen some contemporary art that can be visually exciting, provoking, evoking and accessible without extensive reading and probing to understand the artists' intents.  

Harrison Gallery and The Clark

Meadow Path by John Macdonald

The Harrison Gallery specializes in contemporary American artists, with a focus on landscapes.The Harrison's featured artists were John MacDonald's paintings and Paul Caponigro's photographs. MacDonald's work, pictured above, was of landscapes in and around Williamstown.  The quality of the paints is almost encaustic in appearance.  I couldn't decide if that was a mixing choice or a medium effect until reading the artist's statement.  He's a plein air painter interested in light and texture.  The work is loose and expressive and clearly captures the local landscape.  It evokes a bit of Edward Hopper for me.


The Clark is a very interesting place.  It  houses the private collection of the Clarks, (he, grandson of Singer Sewing Machine founder) and has a mission to dedicated to research and extending and advancing the public understanding of art.  The holdings are extensive, museum quality and quantity. This trip was a bit disappointing because the original building is under renovation and the current show is recent archaeological discoveries of northern China.  I admit this lack of interest is due to my complete ignorance of Chinese art, religion, culture, etc, etc.  I did enjoy a couple of the sculptures. Zhenmushou (Tomb Guardian Beasts) from the Tang dynasty.  The expressions and the melding of beasts/humans was captivating.  And the Warrior Guardian from the Qi dynasty because of his posturing amused me greatly.  

 ZhenmushouWarrior Guardian

Wit Gallery

According to their web site, "An acronym for "Wonders In Time" The Wit Gallery focuses on art that brings a feeling of warmth and hospitality which transcends time.  While the works intrigue me, I don't trust them.  There is too much commercialism, too much "oh, isn't that neat, cute, pretty, unusual".  While quite skillful and polished, the works seem to be contrived and made for Architectural Digest.  Somehow, the artist's hand has disappeared.  It's almost as if Pier One Imports showed up.  And for some inexplicable reason, to me it smacks of California art.  

The above painting by Suzanne Howes-Stevens is an example of the gallery works.  It is oil over a collaged map which locates the painting's site. The painting is framed by and bleeds into the map.  While the idea of using the map to restate the idea of landscape is interesting, the very formal and clean use of it defies nature (IMHO).   Also, every painting of Howes-Stevens looks more or less like the one above.  She's found her schtick and she schticking with it.  

Summer Reading

Summer Reading, Oil on Board, 28.5" x 20.5" is showing at the Judith Klein Gallery in New Bedford, MA Art of Summer 2012 show which benefits the New Bedford Women's Shelter.  Both subject and color are more illustrative than my usual oeuvre.  This was to appeal to the theme of the show.  The point of view is from our upper deck, across the flower boxes to the pool.  
I will be out of the studio for the next 10 days while I visit galleries and museums in western Massachusetts.  However, I will post my insights.

Minkcove Sunrises

The sun rising over Minkcove created a beautiful orange aura.

Rudbeckia

The painting is finished and installed at Rogers Gallery. I discovered a way to address the flatness of some areas without varnishing. It's referred to as "oiling out", and simply means applying an oil medium to the dried surface. When done, the painting again appears to have a uniformity of richness and saturation.

Rudbeckia, Etc

I notice that I have not posted in some time. However, I have been working daily. The weather has been abominable, English wet and dark. It's difficult to see well and I find my self unsatisfied with work viewed the following day. Mostly, I've been attacking the yellow rudbeckia. Yellow is such a difficult fellow. It's not so much the values as the transparency. There is hardly any coverage initially. I've also been experimenting with glazes in these two small landscapes (8x13"). I've learned techniques immediately and prefer this to using the gold leaf.