Moody, Minimalist Landscape Painting

Posts tagged “Cape Cod paintings

Spring into Summer 2018: News and Updates

Deep, happy, exhalation—spring is here!

I recently delivered fresh work to Louisa Gould Gallery on the Vineyard. She is currently hanging her first show of the season, including my new work, and then plans a big 15th anniversary show with a reception mid-summer. Here are a few of my additions to the gallery walls:

Brilliant Fog, 24″x36″.

 

Affirmation in Blues, 36″x72″ overall.

 

Meandering, 24″x36″.

 

In other shore news, I am very pleased to announce new representation on Nantucket at the Thomas Henry Gallery. I am still working on the pieces that will be delivered in early June, but here is a sneak preview:

Summer at the Creeks, 36″x24″.

 

Angle of the Cloud, 30″x36″.

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My solo show at Thompson Giroux Gallery in Chatham, NY, Atlas/Hudson River Valley, was very well received. I will continue updating the blog post on the show to label what has been been purchased, as the gallery has kept many pieces for follow-up viewing and acquisition. I have also labeled with a G the pieces still at the gallery.

https://scheeleart.wordpress.com/2018/03/21/atlas-project-hudson-river-valley-and-catskills/

Most of my spring sales have naturally come from this Chatham show, and have included oils, a pastel, monotypes, and a collage—a nice affirmation for all of these explorations. Here a is a handful of examples:

 

“September Dawn”, 12″x28″, pastel, the first with a red dot.

 

Sweeping Greens, 32″x68″, sold to the Emerson Resort and Spa.

Sold, happily, as a pair:

 

MVroman’s Nose/Green Fields, 8″x10″.

 

MSweeping Sky with Fields, 8″x10″.

 

Atlas/Hudson Valley Collage, 18″x14″, sold to the Emerson Resort and Spa.

This show was a wonderful experience for me from every standpoint. Parting words from them when I was done with pick-up—after expressing my deep appreciation for how well-handled every aspect of our interaction was—“happy artist, happy gallery”.

Those works that have returned to my studio are back on my available work post, as well a number of other pieces:

https://scheeleart.wordpress.com/2015/11/18/available-workstudio/

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Iconic Cloud recently came back to me and I just touched it up, brightening both hillside and sky. I’ve done that a few times recently—must be a shift in my mood.

Iconic Cloud, 20″x40″.

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Here is a schedule of my workshops in Woodstock, Nantucket, and Provincetown. My color-mixing workshop has become very popular with painters of all levels and styles, so some version of that is being offered in the three locales.

JUNE 16-18, WSA: My last landscape painting workshop in Woodstock for 2018 is coming right up in June. Last year we had a really lovely time in this workshop for students with landscape painting experience. It’s a good one to repeat, too:
AUGUST 7-10, Nantucket at the AAN: A full-day color-mixing and 3 short-day Form and Content
SEPTEMBER 17-20, Provincetown at the PAAM: Also a one-day color mixing followed by 3 short days of of Form and Content
This will be followed by my show opening on the 21st at Julie Heller East, across from the PAAM.
My fabulous color-mixing group in Woodstock in April provided the feedback that the class would be even better as a two-day workshop. I also have wanted to extend the information by immediately applying it to painting, mixing and critquing palettes. So I altered the theme of my October WSA workshop to this:
OCTOBER 27-29, WSA: New workshop: Color Mixing and Composition for Painters:
Anyone who has taken my color-mixing workshop can join us for day #3 of this workshop, to explore more deeply the practice of color.
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I will participate in the Shandaken Studio Tour July 21-22. More on this as it approaches—it is such a pleasure for me to set up my studio as a gallery and host visitors both new and known.

Moving forward, a September show at Julie Heller East in Provincetown and the Luminous Landscape at Albert Shahinian Fine Art in Rhinebeck later in the fall. Plus some as yet unknown opportunities will likely arise, as they usually do…

 

Blue Dusk, oil on board in vintage drawer.

 

 

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News, Pictures, and a big Save-the-Date as we Launch into 2018

Hello all, happy oncoming 2018! I have quite a lot to report in this year-end update, both from 2017 and about events on the schedule so far for the coming year.

Atlas Project

Many folks have asked me to send out a save-the-date for my Atlas/Hudson River Valley show opening on Match 31 at the Thompson Giroux Gallery in Chatham New York. I’ll do a separate email soon so that it’s easy to find in the inbox, but here on my blog I can talk about the exhibition in more detail.

This will be the first full-size installation of one of my Atlas Project-themed exhibitions. Later themes might be Atlas/Cape Cod or Atlas/Forms of Water, but I an delighted to be launching this within my own Hudson River Valley/Catskills, both as the theme and the locale of the show. Included will be monoprints, mixed media/collages, and pastels along with the oils, and the Site Map that explains it all.

 

Downriver, 24″x24″, oil on linen.

The Site Map is an integral part of an Atlas Project installation, a map of the show itself which includes tiny monoprints of all of the oil paintings in the show overlaid on a collaged map of the Hudson River Valley. It includes numbered map tacks that show the locales of the scenes depicted; river towns and bridges and a key to the map and the show.

This map will have to be finished and photographed at the last minute, when I am sure of exactly which oil paintings are going into the show.

A side panel is Mapping Memory/Wildlife of Particular Interest that includes lino-monoprints and some text of my associated personal memories. Three panel extensions coming asymmetrically off the right side and top and bottom of the main map include a collage/lino/mono of the upper Hudson, the source of the river in the Adirondaks; another of Hudson Canyon, which continues out to sea from New York Harbor for 400 miles; and a third comprised of short discussion and collage/prints of three local trees endangered by climate change.

 

Hudson Canyon collage in progress, mixed papers (including hand-dyed rice papers) on map on board.

 

New Blog Post

In current news, I have recently published a blog post on the intersecting themes of teaching, independent studio practice, and group dynamic for the artist:

https://scheeleart.wordpress.com/2017/12/28/teaching-creating-community-and-fostering-independence/

I welcome any comments on the post!

Many Things Nantucket

In January I will again be part of an exchange between artists of Woodstock and Nantucket, this time to take place at the Woodstock School of Art. We will be working together for three days in the graphics studio; doing a few studio visits and looking at the historical connection between the two arts colonies;  eating and schmoozing. (What could be better?)

Part I of this exchange took place in September at the Artists Association of Nantucket with a show of the four Woodstock-area artists seen below, who had all taught and/or done a residency there:

 

 

The plan was for the four of us to show up for a closing reception and artist’s talk on September 23rd, and my plan was to to do a tour of the Cape and Islands with my husband, starting in Provincetown, checking in with and delivering to or picking up from my three galleries in the area.

Just as we were coming onto the Cape Tropical Storm Jose was approaching the area, causing concern over the Cape bridges closing as well as cancelled ferries. From Provincetown we saw some amazing sights during the storm, particularly the surf from the high dunes on Longnook Beach.

We had a ferry reservation to continue on to Martha’s Vineyard, and from there I had another res for the fast ferry to Nantucket a day later.

Three of the four artists did manage to get on Cape, or in my case, to Martha’s Vineyard, and then reschedule ferries to arrive for our reception at the AAN. We suffered a rocky crossing and then enjoyed a lovely evening of spirited discussion and camaraderie.

I also arrived in time to pay a visit to my new gallery on Nantucket, Thomas Henry Gallery. I am looking forward to painting some large, open seascape and marsh imagery for the 2018 season there:

http://thomashenrygallery.com/Christie_Scheele.html

 

My residency at the Artists Association of Nantucket in February was one of the highlights of 2017 for me, beautifully intensive and key in advancing the rubric for my Atlas Project:

 

Summer Dune, 9″x24″, oil on linen.

The below was my second prototype for a site map for a grouping of Atlas Project work. From here I was able to take what works best (the monotype thumbnails of paintings that I had done) and change things that I didn’t (particularly the text) for the next map, for Atlas/Hudson River Valley. I would also love to return to Nantucket for a more fleshed-out exploration of of the theme.

 

Site Map with lino map of Nantucket; monotype thumbnails; tracings; writing and letterpress.

 

Fall Studio Demonstrations

 

This fall I did three second-Saturday demo/open studios, starting in October. During the first I worked on  small oil-on-paper pieces, like this:

Study/Headlights, oil on primed paper, 5″x12″.

The below I developed during the November demo, which had the theme of working large in oil. I had a nice group who I can only describe as riveted, watching for about two and a half hours while I painted and explained. Then the mood shifted to jolly when I called for a break and lively conversation ensued over a glass of wine.

The slightly textured surface of this piece is something I love to do every so often, allowing a little more of the underpainting to show through, creating a subtle vibration.

 

Reflected Suns, 32″x48″, to be included in my spring Atlas/Hudson River Valley show.

Here is a link to the video created by the Woodstock School of Art from a painting demonstration that I did there a few summers back:

https://woodstockschoolofart.org/author/christie-scheele/

For the last demo, in December, I worked in pastel, completing both of these during the two afternoons:

 

Oak Bluffs/Lights/Fog, 10″x10″, pastel on paper.

 

Trailing Fields, 6″x22″, pastel on paper.

 

Other Highlights from 2017

I had a successful show last winter/spring with my gallery of 20 years, Albert Shahinian Fine Art in Rhinebeck. It is such a pleasure to work with Albert and Joanna, who are also friends and neighbors in our Hudson Valley arts community.

Hill Beyond Hill, 3 panels of 24″x20″/ea., sold by Albert Shahinian Fine Art

Here is a link to my post on the show, updated to label pieces that sold later in the year, as well as those that went during the show (the others are, of course, still available):

https://scheeleart.wordpress.com/2017/02/11/gallerystudio-a-symbiosis-solo-show-with-albert-shahinian-fine-art/

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In April I went to Florida to do a large painting for my friends Karen and Len:

 

Working in the pool enclosure, enjoying the April warmth and humidity. Last touches.

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During my third year with Louisa Gould Gallery and my 18th or so showing on the Vineyard, we had the kind of year that the artist really looks for. I had some relaxing off-season visits that gave us more time to connect. The crazy Cape and Islands tour in September with Hurricane Jose was followed by several days of sun/fog/sun/fog, rolling in and out, that had even islanders exclaiming. This started as I was leaving Nantucket on the ferry, included a wild rainbow at sea, and continued into the next day while I photographed favorite and new locales on MV and Chappy with my husband. There will be paintings to follow!

This piece, which I delivered to LGG the next month, was of a moment just after the fog cleared.

Big Sky over Sengekontacket, 44″x68″.

In 2017 Louisa and I sold work big, medium, and small and in a range of palettes and formats. When this happens, I feel truly appreciated and at home in the gallery. The below are a few that found new homes since my last post.

Gleaming Sunset, 24″x24″.

 

Whispering Marsh, 12″x36″. sold by Louisa Gould Gallery.

 

Older Favorites Find New Homes

In the past several months I have been delighted to see a number of pieces that, despite generating admiration, have lingered too long in gallery or studio leave my walls for others:

 

Winter Light, 24″x30″, from my December demo/open studio; a view of the Jersey Turnpike with the gorgeous, polluted light of a winter afternoon.

 

Height of Summer, 36″x48″, from my September demo/open studio; a romantic piece with unusual color that has received much attention.

 

Mountain Fields, 20″x24″pastel on paper, a subtle-bright interpretation, sold by Albert Shahinan Fine Art.

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The Luminous Landscape at Albert Shahinian Fine Art continues through the month of January, closing with a last reception on January 27th. I have several pieces in the show and many more in inventory, accessible for viewing. I look forward to the reception, which is also a 20th-year anniversary party, an opportunity to enjoy the warmth of our arts community during the winter months.

http://www.shahinianfineart.com/ChristieScheele.html

En Masse, the dynamic small works show at Thompson Giroux Gallery in Chatham, NY,  continues to January 7th. They have been generating anticipation for my spring show with the many small works they have of mine seeded throughout the gallery, as well as larger pieces in inventory. One of my last sales of 2017 was Blue Tidal Pool, one of my favorite paintings from the past decade:

BlueTidal Pool, 20″X24″, sold by Thompson Giroux Gallery.

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I have a new workshop at the Woodstock School of Art, rescheduled for March 3rd-4th. The theme, somewhat more descriptive than my workshops that emphasize formal elements, is for students to create a suite of paintings of the four seasons.

Many representational painters explore a zone on the spectrum of realism, on one end, and very abstracted imagery, on the other. I have often emphasized the abstract in my teaching, feeling that the go-to for landscape painters early on is to try to copy everything they see within a scene. So my approach is to encourage students to think instead about the needs of the painting, inventing an image that is not a copy but a new reality.

In the past year I have been closely examining my connection to place through my Atlas Project. The theme of this new workshop, more descriptive than abstract, may have emerged from these musings. That said, students will be focusing their attention, with my help, on all of those formal elements in order to create compelling, personal paintings.

https://woodstockschoolofart.org/course/form-color-narrative-landscape-painting-seasons/

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I look forward to a focused, productive year ahead. We have much work to do on the national level, and also need our creative retreats more than ever. I hope you enjoy yours, and am filled with gratitude that you have supported mine. ♥

 


Late Summer 2017 Newsletter

June brought two great-story sales. The first was of this piece, a favorite of mine since I did it a few years back. My husband delivered it to Louisa Gould Gallery on Martha’s Vineyard in early June and a few days later it was headed  to Madrid on a private jet. The collector even helped unwrap it after being drawn into the gallery by my 50″x90″ piece in the window.

Rolling Cloud, 44″x62″.

 

This octych has received a great deal of attention, including a blog post of its own. It was shown and appreciated at Gold Gallery in Boston, and then at Albert Shahinian Fine Art in Rhinebeck this past winter.

Green Waves, 13″x76″ overall, oil on linen.

https://scheeleart.wordpress.com/2015/03/24/the-evolution-of-a-new-concept/

In May I was contacted by a woman in NC who told me that she wanted to buy it, and had the perfect spot for it. She had read the blog post and loved the story. She had never bought original art before, except for one print. She found me through a google search.

After much back and forth, it turned out that she had seen the price on the small oil-on-paper study that I had done leading up to the final piece, and the actual cost was way beyond what she had anticipated or budgeted for. So I offered her some other, smaller pieces in the green palette that she prefers…and then didn’t hear back from her for a few weeks.

This happens with some frequency. For a discussion of why original art created by a career artist costs what it does, you can read this blog post:

https://scheeleart.wordpress.com/2014/11/02/this-painting-costs-what/

In the end, she could not resist the piece and I could not resist making a price accommodation to enable her to have it, though it was still a huge leap for her both in cost and in faith, as she hadn’t set eyes on the actual piece.

My galleriest Albert Shahinian, who had the piece and is also an expert art handler, did the packing and shipping, and here is Green Waves in its perfect spot:

 

 

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My Atlas Project is gaining momentum and focus. I earlier began a description of the evolution of this  endeavor and got so carried away that I found I needed a separate post, which I will be working on going forward.

In brief, motivated last fall by a number of factors including an upcoming residency on Nantucket and my fears over an acceleration of climate change with the new administration in Washington, I decided I needed to marry more concretely my deep love of the outdoor world and its complexities with my visual expression.

The third and most complex grouping, Atlas/Hudson River Valley had a trial run during a recent studio tour/open studio. Each site map circles closer to what I want, this most recent one being a collaged road map with map pins showing the locations of the paintings in the grouping and monotype thumbnails of the same. Like the earlier versions, this folds up into a small map.

I ran out of time—this was an excruciatingly slow process, with many design elements and much trial and error—and didn’t get any of the written piece figured out, but in discussion during the open studio I figured out how to approach this in a way that has integrity with the map.

This will all coalesce into a large solo show at Thompson Giroux Gallery in Chatham, NY,  March 31-May 6 in 2018, of Atlas/Hudson river Valley and Atlas/Forms of Water. There will be many more paintings and therefore more thumbnails on the map; most likely an off-center extension at top right to show the source of the river in the Adirondacks; and a narrow extension the length of the left side to add written and visual detail about our area. The show will feature monotypes, collages, and pastels as well as oil paintings.

Overlook with River, 24″x36″, the last piece finished before the July Tour.

 

The Studio Tour overall was a sweet weekend with folks from my mailing list coming through as well as those who were new to me. Usually it is a low-pressure event for me and I have a lovely time at the outset setting up my studio for viewing. I had knocked myself out working on the Site Map and printing linocut wall tags for the Atlas Project this time around, but it was well worth it for how the deadline brought the project together enough for me to hone many aspects and trouble-shoot the things that are not yet quite right.

 

Front wall of studio arranged as Atlas/Hudson River Valley, for Studio Tour 2017.

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The day after the Studio Tour ended I was off for a week to teach on Nantucket. So lovely to see the island wearing its summer color, after spending two weeks there in February! I taught my composition workshop, Constructing/Deconstructing the Landscape, to a receptive and able group of six. These are the exercises that they had finished at the end of day #2.

For demo purposes I did several small oil-on-paper pieces, choosing subject matter according to the requests of my students:

Horizontal Wave, 5″x12″.

 

Warm Fall Fields, 5″x12″.

 

Dusk Palms, 5″x5″.

 

After my workshop was over I spent a long afternoon in the print shop, rediscovering what works for my imagery in monotype (there are always a row of failures before some successes). This is my favorite of the batch:

Monotype Sunset over Tidal Flats, 8″x10″.

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In June I had a discussion with some of the artists who I mentor about curating a show of their artwork, and got a very positive response. I contacted what I thought would be the perfect venue for a show of such an eclectic group of artists, the ArtBar in Kingston. The only slot Allie had open in 2017 was for August, so this exhibition of 18 artists had to come together very quickly!

It was interesting switching hats back and forth from mentor to curator, and there will be follow-up in my groups on my experience with the artists as curator. I have heard repeatedly from gallery owners that it is their quality-of-life choice to represent talented artists who are also easy and responsive to work with, so this is a theme that I pass along.

On the card, top to bottom: Betsy Jacaruso, Rebecca Darlington, Elizabeth Panzer, and Sandra Nystrom.

I selected the work and Allie, who owns the venue, hung the show. The opening reception was busy and the the comments very enthusiastic. The list of all of the artists involved: Polly Law, Sandra Nystrom, Rebecca Darlington, Linda Lynton, Linda Puiatti, Al Desetta, Betsy Jacaruso, Patti Gibbons, Lois Linet, Stacie Flint, Elizabeth Panzer, Dave Channon, Karen Schaffel, Julia Santos Solomen, Mary Katz, Loel Barr, Mark Loete, Cathy Metitchecchia.

This is my short description of the work I have done with these, and many other, artists over the years:

My mentoring work began as a way of helping other artists enter or expand their presence in the art market by providing support for both studio practice and exhibiting. The groups are a blend of coaching, support group, and targeted career advice for emerging and mid-level artists.

An article, written by Lynn Woods, will be coming out shortly on the show in the Kingston Times and I will add the link.

 I love two things the most, I think, about working with artists in this way. One is that the artwork is so varied, and as my artistic taste is too, it is a huge pleasure watching and sometimes helping these artists hone their voices into bodies of work that have depth and impact.
The other is that, in our overly busy and complicated lifestyle, I can inform, simplify and advise. So, while every venue, gallery-artist relationship and even many sales have their own unique wrinkles that make generalization difficult, there are guidelines that can help emerging artists streamline their approach and be more decisive in their responses—and feel better about the process.

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Coming up, very soon, this four-person show at the Nantucket Artists Association, a brainchild of Program Coordinator Mary Emery: Due East, 4 Woodstock Artists on Nantucket, featuring the work of Polly Law, Kate McGloughlin, Jenny Nelson, and myself; all artists who teach and/or have done residencies at the AAN. Dates are September 1-22.

https://www.nantucketarts.org/dues-east-woodstock-artists-on-nantucket1.html

A medium-sized oil-on-linen that will be featured in the show:

Color Field/Incoming Tide, 30″x30″.

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Recently finished, my second Atlas/Hudson River Valley mixed-media/collage:

Atlas/HV Collage, 2 panels of 16″x8″/ea.

 

And in oil, an image of the tide coming in over the tidal flats mid-Cape, always a moment of bliss for me:

Sky Meets Water, 18″x24″.

 

This piece fits into the Atlas/Forms of Water segment. It is a different type of category from Atlas/Hudson River Valley, and there will be overlap, making for a more dynamic installation.

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A few of my other sales so far this season:

 

Calm Crossing, 38″x70″, sold by the Louisa Gould Gallery.

 

Monotype/Wave#5, 8″x10″, sold by the Julie Heller Gallery.

 

Haybales, 8″x24″, pastel on paper, studio sale.

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Upcoming workshops are at the PAAM September 11-14, the loveliest time of the year to be on the Cape:

https://www.paam.org/workshops/summer-2017/?course_detail=abstraction-and-narrative-in-the-landscape&start_date=9-11-17

And the Woodstock School of Art October 28-30, also a stunning time of year for the locale:

http://woodstockschoolofart.org/course/color-mixing-landscape-painters/

Enjoy your rest of summer season and beginning of fall!


“Gallery:Studio – A Symbiosis” Solo Show with Albert Shahinian Fine Art

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A quiet chat during a lull...

Having a quiet chat during a lull in the reception…

 

 “GALLERY:STUDIO – A SYMBIOSIS” is a retrospective and a culmination, presenting over 60 works drawn from a broad range of Scheele’s recent output – including paintings, pastels, monoprints and mixed-media.  In designing this show, artist and gallery were keen on making more accessible to visitors and collectors the opportunity to acquire a painting (hence the special sale).  As a culmination, the exhibit and sale end a significant period of Scheele’s aesthetic explorations, making time and space available for her focus on, and movement toward, a complex new project.  Finally, important to both parties, this exhibit celebrates a friendship born, but not limited by, their respective callings as artist and art venue.
Light that Glows, 32"x60".

Light that Glows, 32″x60″. $7,500.

 

Soft Greys from Peaked Hill, 10"x60".

Soft Greys from Peaked Hill, 10″x60″, $4,200.

 

Green Waves, 13"x76" overall, oil on linen.

Green Waves, 12″x75″, $8,000. (Sold)

 

https://scheeleart.wordpress.com/2015/03/24/the-evolution-of-a-new-concept/

 

Rare Summer Silence, 20"x30".

Rare Summer Silence, 20″x30″, $3,200.

 

Cranberry Bog in Reds, 48"x24", 2013.

Cranberry Bog in Reds, 48″x24″, $5,000.

 

Affinity/WinterSunset, 36"x48", $6,500.

Affinity/WinterSunset, 36″x48″, $6,500. (Sold)

 

"Extravagant Sky", 36"X60".

“Extravagant Sky”, 36″X60″. $8,000.

 

TriptychinReds

Triptych in Reds, 3 panels of 24″x24″/ea., $7,500.

 

White Field, 20"x40".

White Field, 20″x40″, $3,600. (Sold)

 

Angle of Repose, 40"x30",

Angle of Repose, 40″x30″, $5,000.

 

Drifting CLouds, 20"x20".

Drifting Clouds, 20″x20″, $2,200. (Sold)

 

"Affinity/Dusk Road", 30"x30".

“Affinity/Dusk Road”, 30″x30″, $4,000.

 

SunsetonTremont

Sunset with Taillights, 40″x20″, $3,800.

 

SunsetContours

Sunset Contours, 20″X20″, $2,200. (Sold)

 

dawnharbor

Sunset Harbor, 20″X16″.

 

 

HiiiBeyondHill

Hill Beyond Hill, 3 panels of 24″x20″/ea., $7,000. (Sold)

 

Height of Summer, 36"x48".

Height of Summer, 36″x48″, $6,500 (sold).

 

 

summerfields

                         Summer Fields, 30″x30″, $4,000.

Moving Sky, 30"x36".

Moving Sky, 30″x36″, $4,500. (Sold)

 

Juncture, 18"x60".

Juncture, 18″x52″, $4,200.

 

 

affinityinmotion

Affinity/In Motion, 48″x12″, $4,000.

 

Sundrenched Field, 20"x24".

Sundrenched Field, 20″x24″. $2,500. (Sold)

 

 

Skyblues/Seablues, 10"x8".

Skyblues/Seablues, 10″x8″, $800.

 

Winter in Blue/White, 12"x12", oil on linen (at Albert Shahinian Fine Art).

Winter in Blue/White, 12″x12″, $1,300. (Sold)

 

Angular Tidal Flats, oil on paper on 12″x12″ board. (Sold.)

 

Mauve Sky, 6"x12", oil on board, $650.

Mauve Sky, 6″x12″, oil on board, $650. (Sold)

 

Affinity/Duo/Palms, 2 paintings of 16"x8"/ea.

Affinity/Duo/Palms, 2 paintings of 16″x8″/ea, $2,000. (Sold)

 

Glistening Greys, 10"X10", oil on linen.

Glistening Greys, 10″X10″, oil on linen. (Sold.)

 

Gold Bush, 10"x10". oil on board, $700.

Gold Bush, 10″x10″. oil on board, $700. (Sold)

 

2 Suns, 10"x10", oil on board, $700.

2 Suns, 10″x10″, oil on board, $700. (Sold.)

 

"Study/Sunset Sea", 5"x5", oil on primed paper.

“Study/Sunset Sea”, 5″x5″, oil on primed paper, $550.

 

Study/Skyline, oil on paper, 5"x5", $550.

Study/Skyline, oil on paper, 7″x7″, $700.

 

"Factory at Work", 7>5"x3.5" (courtesy Julie Heller Gallery).

“Factory at Work”, 7.5″x3.5″, $600.

 

Affinity/Boatyard, 10"x10", 2014, oil on linen with frayed edges on board overlaid with graphite lines.

Affinity/Boatyard, 10″x10″, 2014, oil on linen with frayed edges on board overlaid with graphite lines, $900. (Sold)

 

"Hilltop Contour", oil on a vintage child's slate. (Courtesy JHG)

“Hilltop Contour”, oil on a vintage child’s slate, $750.

 

Additional works at the gallery:

 

Gleaming Bridge, 20"x40", $3,600.

Gleaming Bridge, 20″x40″, $3,600.

 

 

Summer Sky over Divided Fields, 20"x24".

Summer Sky over Divided Fields, 20″x24″, $2,500 (sold).

 

Black Treeline, 36"x48", $6,500

Black Treeline, 36″x48″, $6,500. (Sold)

 

Sweeping Greens/Jostling Trees, 28"x68", $7,500.

Sweeping Greens/Jostling Trees, 28″x68″, $7,500.

 

Mists from Palmer Hill, 12"X36", 2014.

Mists from Palmer Hill, 12″X36″, $2,800. (Sold)

 

Dawn Headlights, 12"X36".

Dawn Headlights, 12″X36″, $2,800.

 

RefractedGolds, 20"x40", $3,600.

RefractedGolds, 20″x40″, $3,600.

 

Favorite Field/Soft Greens, 3 panels of 12"X12"/ea., $3,200. (CRG)

Favorite Field/Soft Greens, 3 panels of 12″X12″/ea., $3,200.

 

"Intervening Space", 20"X20".

“Intervening Space”, 20″X20″, $2,200 (sold).

 

Stormy Sea, 12"X12".

Stormy Sea, 12″X12″, $1,300.

 

Evening Shoreline, 12"X12", $1,300. (ASFA)

Evening Shoreline, 12″X12″, $1,300.

 

Study/Mountain Contours, oil on paper

Study/Mountain Contours, oil on primed paper, 4″x14″, $800.

 

Affinity/Bridge at Sunset, 12"x24".

Affinity/Bridge at Sunset, 12″x24″, $2,000.

 

Green Waves, oil on paper,

Green Waves, oil on paper, $1,600.

 

 

 

"Conviction of Beauty", 12"x

“Conviction of Beauty”, 12″x42″.

 

Red Sky with Gleam, 5"x12", $800.

Red Sky with Gleam, pastel on paper, 5″x12″, $800.

 

River Sunset, 9.5"x19".

River Sunset, pastel on paper, 11.5″x19″, $1,600.

 

Mountain Fields, pastel on paper, 20"X24", $2,500.

Mountain Fields, pastel on paper, 20″X24″, $2,500. (Sold)

 

White Trail, 40"x30", $5,000.

White Trail, 40″x30″, $5,000. (Sold)

 


Shape and Mood: 2 Paintings so Alike and so Different

In representational art, the formal aspects of a painting can contribute to a narrative or mood just as readily as the descriptive. This is a theme that I discuss often in workshops, talks, and here on my blog. I recently finished two paintings of the same locale and time of year—same day, in fact—using a very similar palette that illustrate this point well.

In fact, the difference between them really boils down to the mood that the shapes create.

In “Lingering”, below, the overall feel of the piece is warm and welcoming, despite the weather depicted being overcast. Putting ourselves in the scene, the misty/drizzly day creates a sheen and depth to colors in the marshes and a sense of intimacy—privacy, almost— within the landscape. On these sorts of days there are fewer people about; the air is thick and embracing; vistas tend to be limited. There is a boundary of trees at the horizon, enclosing the space.

"Lingering", 10"x10".

“Lingering”, 10″x10″.

On the formal side, the eye is led into the piece by the wide open shape of the tidal pool at the bottom left, and then is invited to move around by the directionality of soft edges and dispersed accumulations of detail. Variations of color within the areas of orange marsh grasses encourage the eye to linger. Sky and water are a mauve, relating to the coolest of the reds in the marsh.

I would describe “Lingering” as warm; friendly; intimate. And descriptive, for sure.

In the second piece, the color is the same but the feel is much bolder. Now we have a highly structured piece with assertive directionality. The eye is swept into the image by the strong zig-zag created by the edges of the marsh and moves back to a open area with minimal detail along the horizon. The detail that does exist is necessary to balance the composition, keeping the eye moving within the painting rather than being swept off to the right by the strong edges of the tidal creek.

"Edge of Discovery", 18"x24".

“Edge of Discovery”, 18″x24″.

The description of  “Edge of Discovery” could include abstract; expansive; dynamic. Movement within structure.

As I was working on these pieces–about a month apart—I decided independently with each that the image needed some interest in the marsh as it went back in space. To create this, I added the back tidal pools in both cases, and then the evolving paintings clicked into place.

Even here, with a similar solution to a common problem, the feel of these pools is quite different. In “Lingering” there is quite a bit of detail to the two glimpses of white, while in “Edge of Discovery”  the bit of water is minimal, austere (and right in the middle!), jibing with the overall reductive composition.

So, when we talk about mood in a landscape painting, we are discussing two things. One is the mood of the moment captured—how would it feel like to be there? The other is the feeling that the lines, shapes, and surface of the painting create for the viewer.

Color relates to both. It reflects the seasons; light; locale; and time of day of the views that we see around us. It also is inherently linked to mood and personal preference.

Kandinsky in his 1910 “Concerning the Spiritual in Art” posits that abstract elements have emotive power in their own right. In comparing these two paintings, it becomes clear how the shapes with their edges and directionality and the overall composition that they create impact the mood projected.

Unlike with color, many people are not consciously aware that these particular formal aspects are actively contributing to their experience of a representational painting. It is up to the artist to be adept at exploring the endless possibilities of these pictoral tools as the painting is being shaped, narrowing the gap between a good painting and an excellent one and finding variation in feel from piece to piece.


Small Studies in Oil on Primed Paper

I began using small oil-on-primed-paper studies as a teaching tool in my September 2013 workshop at the Provincetown Artists Association and Museum.

At work on one of the studies for

At work on one of the studies for “Blue Above”. (Photo courtesy of Carol Duke.)

As you can see above and below, I did several versions of the same image, moving elements around, encouraging my students to do the same.

Version

Simple version, tidal pool coming off the bottom and corner of the picture plane.

It is not just a question of what is included and what is left out–though that is always a major consideration in my work (see https://scheeleart.wordpress.com/2015/06/30/contoursdistillations-a-solo-show/   for more on that conversation). Even in this very reductive composition, there are many variables. What, exactly, is the shape of the tidal pool cutting toward us, and where does it leave the picture plane, both on the left and on the right? How high or low is the horizon line? Cool greens, warm greens, or both? Back shore more compressed and lighter, making it seem further away, or larger and darker, bringing it forward?

Version with suggestion of houses in back land form.

Version #2 with suggestion of houses in back land form, and Long Point lighthouse on the right.  Tidal pool moves off the right side. (Sold)

I decided to go very white with the sky in the large piece, since I love the shore phenomenon of bright blue sky overhead and white at the horizon, which is due to the many miles of atmosphere, denser close to earth, that we are looking through.

Blue Above, 12

Blue Above, 12″x36″ , currently at the Julie Heller Gallery, Provincetown, MA.

None of these versions is any better or worse than the other—they are just different. The choices that I made for the larger oil were largely mood-driven. For example, I opted to emphasize the simplicity of the major shapes by omitting the lighthouse and bits of detail on the back shore. Including them would have made it a more descriptive piece, which I do from time to time. But at heart I am a minimalist, enjoying the open feel that these compositions bring.

First set of small

First set of small studies. (Mostly sold; two are currently at Edgewater Gallery, Middlebury VT.)

I soon saw that the studies function nicely as small paintings in their own right if I finish them the same way I do a larger piece. They look great framed with a mat and under glass, though I have also exhibited and sold a number of them mounted on board, sealed to be airtight, and presented without glass, such as the below.  I did a grouping, example below, for a small works show without any intention to do them larger—some of them are images I already had done as pastels or larger oils. Switching it up!

Tidal Flats at Dusk, 6

Tidal Flats at Dusk, 6″x6″, sold by Thompson Giroux Gallery. (Sold)

 

Study/Triptych in Reds

Study/Triptych in Reds, 3 panels of 5″x5″/ea., private collection.

I decided to leave out the soft water-shape in the larger version, mostly because I knew that I was going to frame each panel separately and I felt that the simpler field dividers would work best, carrying the horizontal sweep of the composition through the strong verticals of the frames and the wall space between.

Triptych in Reds

Triptych in Reds, 3 panels of 24″x24″, currently at Gold Gallery, Boston.

 

 When I do these studies, I don’t do them to copy them later in a big piece, but rather to familiarize myself with some of the elements. I have my students do several of the same image, and until they do they really don’t get the concept. It isn’t to come up with the perfect study to be copied, but to move things around and look at the results to see what sections work best, comparing all of the studies. Having done that, choices will still need to evolve organically with a larger piece–and just the size difference can really influence this process— but you now have the advantage of  having posed key questions to yourself.
Study/Intervening Bay

Study/Intervening Bay, 7″x7″, private collection.

In this recent piece I moved the front tidal pool a bit over toward center in the larger piece and had more room to play with the blues. It became clear that in the 24″x24″ version I needed to clearly differentiate between the three groupings of marsh grasses to indicate far, middle, and close proximity, using color to establish distance. Why? It just didn’t look right to have them all on the same plane in this particular image. This, though, is something that in another painting I might love—allowing all of the shapes to sit right on top of the picture plane, functioning as a color field painting.

Intervening Bay, 24″x24″, private collection.

The study and the large version each ended up where they needed to, and different from each other in subtle ways.
Study/Open Road #1, 4.5

Study/Open Road #1, 4.5″x14″. (Sold)

These two are quite similar, the main difference being the enhanced distance in the road that I created with the larger piece.

Open Road, 20

Open Road, 20″x60″, available at Gallery 901, Santa Fe, NM.

 

Sometimes after both—or all of—the pieces are finished there are things that I prefer about the study. In the following two, it is the differences in size and materials themselves that create a somewhat divergent feel.

Study/Sunset Sea, 5″x5″ (at Thompson Giroux Gallery).
One element to be considered is that the texture of the paper is more assertive in a small piece, and often a bit more matte, even though my linen also has tooth and the paint is applied to the same dark, absorbent ground. Here I feel that the study is more painterly and the oil-on-linen more photographic.

Yellow Band, 36″x36″ (at Julie Heller Gallery).
With the following pair, the study is simpler and more illustrative than the larger piece that came after.
Study/Skyline

Study/Skyline, 7″x7″,  (at Thompson Giroux Gallery).

In the larger size I needed to add more buildings, and I opted to make it more atmospheric. It turned out to be very useful to have established the front detail in the small piece, since I wasn’t at all sure how it was going to work out or even if I wanted to include it. I liked it well enough in the study to follow my own lead in the larger oil.

Skyline with Lifting Rain

Skyline with Lifting Rain, 20″x20″ (sold by Edgewater Gallery).

Here are some pieces from my current collection of studies that I haven’t yet done large. I will do this with some, and others will remain in small format only.
What I choose to paint next is driven by a complex set of considerations, partly mood-driven and partly tending to the needs of my galleries. Yet sometimes I love to not over-think it, changing direction at the spur of the moment. Any of these could be explored in large canvas at any time, and/or my next large piece might be of an image that I did not approach first in small format.
Study/Mountain Contours

Study/Mountain Contours, 4.5″x14″, currently at Albert Shahinian Fine Art in Rhinebeck, NY.

 

Study/View from Little Mountain, 6

Study/View from Little Mountain, 6″x8″, currently at Edgewater Gallery, Middlebury VT.

Study/Lake Mists, 5

Study/Lake Mists, 5″x5″ (currently at the Tenderland Home, Phoenicia, NY).

 

Study?Gleam over Tidal Flats,

Study/Gleam over Tidal Flats, 6″X10″. (Sold.)

 

Study/Green Valley

Study/Green Valley, 6″x10″.

 

Study/Late Summer Light, 5"x7.5".

Study/Late Summer Light, 5″x7.5″.

 

Study/Meadowlands with Mists.

Study/Meadowlands with Mists, 3.5″x10.5″. (Sold.)

I was so enjoying the color on the above that I decided to do a version without the industrial detail in the back landform.

Study/Fall Marsh Mists, 4

Study/Fall Marsh Mists, 4″X8″. (Sold)

And then I wanted to simplify even more and use the soft lavender with greens instead.

Soft Summer Light, 4"x8".

Soft Summer Light, 4″x8″.

Additional pieces (updated since the publication of this post):

 

Study?Yellow Bush, 4"x14.5", Edgewater Gallery.

Study/Yellow Bush, 4″x14.5″ (at the Tenderland Home).

 

Study/Waterspouts, 6"x9".

Study/Waterspouts, 6″x9″ (at Julie Heller Gallery.

 

Study/It Looks Like Rain, 6"x9".

Study/It Looks Like Rain, 6″x9″.

 

Study/Summer Marsh, 5"x12".

Study/Summer Marsh, 5″x12″ .

 

Study/ClusteredCLouds, 5"x12".

Study/ClusteredClouds, 5″x12″. (Sold.)

 

Study/White Fields, 5"x11".

Study/White Fields, 5″x11″ (Sold).

 

Study/Grey Dawn, 5"x7".

Study/Grey Dawn, 5″x7″.

 

Study/Winter Warmth, 7"x7".

Study/Winter Warmth, 7″x7″ (sold).

 

Study/Se.rene Winter, 5"x11"

Study/Serene Winter, 5″x11″ .

 

Study?Reservoir from Little Mountain, 4"x12".

Study/Reservoir from Little Mountain, 4″x12″ (sold).

 

Study/Green Fields, 5"x13".

Study/Green Fields, 5″x13″.

 

Study/Glowing Sky over Fall Marsh, 6"x8".

Study/Glowing Sky over Fall Marsh, 6″x8″ (at Tenderland Home).

 

The study below illustrates another use for the small format, as it was a a study for a commissioned painting (something that I have always done in a small pastel or oil to iron out the imagery that has been chosen by the collector):

 

Study/Resting Clouds, 4"x14".

Study/Resting Clouds, 4.5″x12″ (sold).

 

Lifting Clouds, 18"x42".

Lifting Clouds, 18″x42″, (private collection).

 

You may have noticed that some of the oil-on-paper pieces have a deckled edge and some have a clean edge. This does not translate with the large oil-on-linen work, but instead is something that I’ve been playing with in my pastels for a number of years. Some images have shapes within that relate to the uneven edge, and others have a more linear sweep to the composition. Those that have the deckled edge are framed showing it, and the others have the mat coming right up to the edge of the image.

I never like to over-plan. But even though I got along just fine without these studies for years and years, I have to say that for myself and for my students, they can have a liberating effect. Once you have internalized some aspects of what you are doing, it is much easier to proceed with confidence and an exploratory attitude.

December Newsletter 2014

It has been a busy, fruitful year, but I am not dwelling too much on the past! My sights are set on 2015, when I will have several shows that I am very excited about.

The first will be in March at Gold (Au) Gallery in Boston, my second solo show with the gallery. My solo in fall of 2012 was quite successful, but I am looking forward to this show taking place in a better economy. Below is the piece we have used for advance PR, just finished less than a month ago.

"Rolling Cloud", 44"x68".

“Rolling Cloud”, 44″x68″.

There will be another version of “Trove”, 35 3″x5″ paintings in a divided frame—here is the one that I did and sold in 2007. This second frame is the last that I have been able to find, so only one more of these! The new one will have a weather theme.

"Trove", 30"X48" overall.

“Trove”, 30″X48″ overall.

I am working on a new idea for a multiple-panel piece, waiting for the delivery of canvas to begin work on the final version, which will come in (framed) at something like 14″x82″. A planning stages photo is below.

Studies for "Green Waves".

Studies for “Green Waves”.

 

Some recent highlights have included three blog posts that I quite enjoyed writing. These often generate quite a bit of discussion on FB that I wish was taking place on the blog where more folks could enjoy it, so feel free to jump in.

Most recent, this short one about how grounding a creative process is:

https://scheeleart.wordpress.com/2014/12/10/creativity-and-happiness/

Some stories that I love (and a few of you might recognize them!):

https://scheeleart.wordpress.com/2014/11/11/sweetest-sales/

And my version of a rant  about the costs, hidden to many, of making an artwork and bringing it to the public eye:

https://scheeleart.wordpress.com/2014/11/02/this-painting-costs-what/

My early fall was well-occupied with this commissioned piece which was challenging in certain ways. My clients–who are also friends–wanted a piece that was most definitely in my signature style, but that also included a fairly large structure.

 

44"x68".

44″x68″.

The small pastel looked great with some loose detail for the building, but when I got to the large oil, there was just too much of it to leave open. So I hunkered down and went after the architectural detail, surrendering to process. Then, however, the building looked too linear and didn’t fit with the rest of the painting. Finally, I made it all sit together by putting a fairly translucent layer of a lighter brown over the whole castle and embedding it with more blend into the white sky.

This is what makes each piece an adventure. I thought that the large Rhododendrons flanking the pond would be difficult to pull off/make interesting, but they fell right into place.

The reflection, however, was always going to be the star of the piece!

One other observation about process is that when it comes to a section that has quite a lot of  of detail, I think of it as an abstract painting within a painting. This slows me down and enables me to focus with pleasure and patience, eventually backing up and scrutinizing how the area is working with the whole.

Below, a few recent pieces.

"Green Horizons", 12"x48", oil on canvas.

“Green Horizons”, 12″x48″, oil on canvas. (Studio.)

 

"Marsh at Dusk", 12"x16". oil on linen.

“Marsh at Dusk”, 12″x16″. oil on linen. (Studio.)

 

Five oil-on-paper paintings of just 3.25"x3"/ea.

Five oil-on-paper paintings of just 3.25″x3″/ea. (Studio.)

 

"Affinity/Sunset Reflected", 12"x36". Oil on linen with frayed edges overlaid with graphite gridding.

“Affinity/Sunset Reflected”, 12″x36″. Oil on linen with frayed edges overlaid with graphite gridding. (At Albert Shahinian Fine Art.)

 

And this piece that I repainted last summer, brightening the color.

"Endless Sky", 36"x72", oil on linen.

“Endless Sky”, 36″x72″, oil on linen. (At Gold Gallery.)

 

Some work that has sold recently through my galleries.

 

"Lifting Rain, 20"x60". Sold by Louisa Gould Gallery.

“Lifting Rain, 20″x60”. Sold by Louisa Gould Gallery.

 

"Mountain Sky with Mists", 24"x30". Sold by Chace-Randall Gallery.

“Mountain Sky with Mists”, 24″x30″. Sold by Chace-Randall Gallery.

 

Seaside Reds, 20"x20". Sold by Edgewater Gallery, to my dear and recently   rediscovered friend from my year in Bolivia as an exchange student!)

“Seaside Reds”, 20″x20″. (Sold by Edgewater Gallery, to my dear and recently rediscovered friend from my year in Bolivia as an exchange student!)

 

"Counterlight BLues, 16"x20". Sold by Albert Shahinian Fine Art.

“Counterlight Blues, 16″x20”. Sold by Albert Shahinian Fine Art.

 

"Sunset Sea with Sailboat", 5"x14", oil on paper. (Sold by the Julie Heller Gallery.)

“Sunset Sea with Sailboat”, 5″x14″, oil on paper. (Sold by the Julie Heller Gallery.)

My other shows coming up in 2015 are with the Louisa Gould Gallery on Martha’s Vineyard and a show exploring my most minimalist, color-field imagery with my gallery of longest-standing, Albert Shahinian Fine Art in Rhinebeck.

My fall workshops on in Provincetown and Woodstock were very focused and great fun. For 2015, I have two new themes on the schedule. (Contact me for a full course description.)

 Constructing/Deconstructing the Landscape, WSAFebruary 14-16 Sat-Mon

Landscapes in Large Scale, WSA, June 20-23, Sat-Tues

Provincetown Artist’s Association and Museum, Sept. September 14-18 Mon-Thurs(Workshop will be similar to Constructing/Deconstructing the Landscape.)

Interpreting the Landscape in Oil or Pastel, WSA, October 17-19 Sat-Mon

https://scheeleart.wordpress.com/2013/10/02/painting-workshop-considering-composition/

Last comment for now is that I have been doing quite a bit of mentoring/coaching of other artists this past year and especially recently, enjoying working with both early career and experienced artists. I developed my mentoring programs years ago after meeting and conversing with many artists who had so much hope and conviction, but didn’t understand the ropes. The work is satisfying to me because I can clarify and demystify, and thus take some of the emotional weight out of the process of bringing artwork into the marketplace. I am grateful to the many artists who have trusted me to help them rewrite artist’s statements, brainstorm new series, scrutinize resumes for old contacts, and open themselves up to advice.

https://scheeleart.wordpress.com/2013/01/15/mentoring-for-artists-for-career-and-work-support/

Happy holidays, happy 2015!