Moody, Minimalist Landscape Painting

Posts tagged “Catskills landscapes

As 2016 Rolls into 2017…

 This is a time when we celebrate the start of a fresh new year, looking outward at loved ones and community for warmth, stimulation, and support. It is likewise a time of introspection, as we examine the  creative and life-of-the-mind pursuits, often solitary, that give the deepest meaning to our lives. 
Looking back at my art-related projects of 2016, a recent one was my blog post “Paintings of Infinite Worth”, in which I discuss four beloved paintings from last century.  Analyzing artwork is always stimulating and fun for me, and if I love the work, deeply felt. I feel lucky that I get to practice this skill while teaching; looking at artists’ work in mentoring meetings; in public talks —such as I did at the Provincetown Artists Association and Museum in September—and here on my blog.
It has been quite some time since I have done this with one of my own pieces, so I have selected “Calm Crossing”, painted last spring for my Martha’s Vineyard gallery, to deconstruct.

Calm Crossing, 32″x68″, oil on linen (at Louisa Gould Gallery, Vineyard Haven, MA).

 I wanted this piece to convey the feeling of openness and welcome that the view of Martha’s Vineyard and the Sound have from the deck of the ferry, making it a more specific narrative than many of my paintings. I actually started with the cloud and color, testing as I went along—how turquoise and bright can I make this while still retaining the feel of the north Atlantic? Going quite literal and descriptive for a moment, the flatter the water the more it reflects the sky. So, how flat can the Sound between Cape Cod and MV actually be?
I have seen it pretty calm (the occasions when Jack always says, “See, our little boat would be fine to do this crossing on a day like today!”), so ultimately I felt free to just follow my own nose in regard to color and reflection.
Considering the relationship of the shapes, bits of the cloud come off the bottom center, angling towards the island, itself a low wedge shape. To the right, another wisp sits over the break in the land shape, but not so low as to feel that it is pressing down. As that cloud moves off to the right, below it a reflection of almost the same color moves diagonally left and down, so that the two shapes create a sideways V of surface tension that opens toward the center of the painting.
This kind of play in a scene that is otherwise a banded horizontal composition is what holds the surface together and keeps the eye happily circulating. Likewise, all of the subtle variations along the edge of the cloudbank, softer at the top,  invite the viewer to linger.
The context of the formal part of this discussion is that, with minimalism, there are few of the distractions that busy details create, so everything that is there must hold up to intense scrutiny. This also, then, connects to my analysis of the Rothko and the Frankenthaler in the Paintings of Infinite Worth post.
In late summer and early autumn I spent some time simplifying, rearranging, and painting my studio. Since I started out by getting rid of two large pieces of furniture that stored multiple things, I was spurred to action by the resulting piles of stuff. Sifting through old files—show postcards; letters; consignment sheets from galleries long gone; grant applications—I found myself in an unexpectedly intense emotional state.
I am still trying to put my finger on this stew of emotion. It did not include nostalgia, interestingly, or even pride, but did produce a sense of…wonder? The files were evidence of the accretion created by so very much effort over many years, including a good number of things that I had forgotten about or forgotten the details of.
That such a number of seemingly random tidbits added up to something quite substantial —my life’s work—made me feel as if I am sitting atop this huge pile of career events; relationships; and hard work, and that all of that is now supporting me. It also strikes me now how this would be true of so many people of a certain age, especially those working in arenas where both work and success are largely self-generated. Further, as an avid reader of literary fiction, I can see that this is the stuff that novelists work with—details that end up coalescing into life narrative.
The most moving piece of paper that I found was a letter from my old friend Joan D’Arcy, a gifted arts writer who passed away some years ago. This letter was written shortly after her husband died, at which time I had given her a small painting.
Interestingly, in a  twist to this story, a few years later Joan told me how much her husband had loved this piece, her memory apparently having been reshaped by a conflation of events on the timeline. I never corrected her.
“…shames the obvious.” Such a gorgeous turn of phrase.
Sorting through my studio, I also took a good look at the few that are left of these pastel-on-primed-paper pieces from 1992, done during a period when the serene feel was not working for me. I remember vividly doing these, our small twins (finally!!!) asleep in the late evening.
Jagged Peaks, 20"x24".

Jagged Peaks, 10″x24″.


Brown Shoreline, 24"x20".

Brown Shoreline, 24″x20″.


Birdseye Shoreline,

Birdseye Shoreline, 10″x24″.


Last summer I did, on a very hot July day, a demo at the Woodstock School of Art. It is hard to complete a sentence while working on a painting to start with—so much focus is on the progress of the piece—and on top of that the editing of a short video tends to break things up. Nonetheless, I am pleased with the result and hope that you enjoy watching.
A new exploration for me this past fall has been working with monotype, a printmaking process wherein you work directly on a plate to create one-of-a-kind images. An experienced painter can often move fairly quickly along the learning curve with monotypes, so I have had great pleasure in the process and am happy with many of my results.
M/Dark Road, monotype and pastel.

Dark Road,  monotype and pastel, 10″x8″.


Monotype, Wave #3, 8"x10".

Monotype, Wave #3, 8″x10″.


Monotype, Fall Marsh, 8"x10".

Monotype, Fall Marsh, 8″x10″.

Additional images can be viewed at:


 The development of the actual paintings always (naturally!) comes first on my list of what I love to do most. These pieces are among my own top picks from 2016, often because I remember certain challenges in the process of creation that led to a satisfying result.
Layers of Meaning, 30"x24", oil on linen.

Layers of Meaning, 30″x24″, oil on linen.


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

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


"Lingering", 10"x10".

“Lingering”, 10″x10″, oil on linen (sold by Julie Heller Gallery).


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

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


I am very pleased to have new representation at Gallery 901 in Santa Fe, NM. Please check out the gallery if you are in town:


A number of my pieces have been gifted from one spouse to the other for the holidays. In the case of Trove/Atmospherics,  the story leading up to the surprise gift from a dear friend to her wife has twists and turns that have gone on for years (even though the piece dates only to winter of 2015):
Trove:Atmospherics, 35 panels of 3"x5"/ea., 30"x48" overall.

Trove:Atmospherics, 35 panels of 3″x5″/ea., 30″x48″ overall.


I have just added some newly returned work to my data-base, and taken off the aforementioned holiday gifts. If you are looking for a large painting, this is a rare moment to peruse the many choices:

Since I sold the piece in October that was on my large living room wall, I have had the pleasure of replacing it, temporarily at least, with this favorite that I recently had returned to me:


"Rolling Cloud", 44"x68".

“Rolling Cloud”, 44″x68″.


Looking ahead, my thoughts are on the project I am developing for my residency in Nantucket in Feb.-March. This will involve an expanded and more experiential exploration of place, using drawing, printmaking, painting, writing…and who knows what else? Memory will be a theme.

Also coming up this winter, a special show/sale starting in early February at Albert Shahinian Fine Art in Rhinebeck, NY. More on this in a few weeks.

Finally, for those of you who do the drive from Kingston, NY up Route #28 to your home or weekend place, or if you just want to listen to a very well-produced culture/history/arts audio tour of the Catskills, check  out this piece by neighbor and friend Brett Barry of Silver Hollow Audio (who Catskills/HV/Berkshires folks will know from the segments that he does on WAMC). My bit is about half-way into it, but with Brett’s interview prompts that created the individual discussions followed by skillful editing, the whole piece is beautifully interwoven and well worth listening to.


I am wishing us,  individually and collectively, a year of truth-seeking and compassion; of finding community; and exploring our deepest joys.


Open Studio/ House Party

My timberframe studio in the yard next to my house.

An open studio and house party are alternative ways to share and sell art. The artist communicates directly with the collector or visitor, creating a scenario where stories can be shared and feedback absorbed in an immediate fashion.

I have done several of these events in the past weeks, two in my studio and one at my biggest collector’s apartment in NYC. It is my pleasure to share my work with collectors, friends, and newcomers in this one-on-one manner.

In my studio I try to have as much work out and visible as possible, so the look is quite crowded. When someone is considering a particular piece, I clear a spot for it on my easel, where the light is the best, for better viewing. Despite the fact that I have many pieces to choose from at these events, I often hear requests for something specific (size, color, or locale of imagery) that I might not have on hand.  For this reason, I keep my laptop handy with my files so that I can show folks other available work that is out in my galleries, and either send them to see the piece there, if geographically possible, or find another way for them to check it out in person.

The very best way to make a decision between pieces is to bring, or have my gallery bring, a small grouping of work to the collector’s home. One look at the right piece on the wall in question is a great solution to any dithering.

Arranging my studio or my host’s apartment with all of my work is a favorite part of the process (this is true of all the good galleriests that I know, as well). Not all paintings of mine go with each other well, either due to color or feel of the piece, and of course there are different sized walls, easels, and shelves to consider, so getting it right is a time-consuming process involving a good deal of trial and error.

When folks make an appointment privately to come to my studio they encounter a different situation—work on the walls and  stacked on the floor, works-in-progress on the easels, and tables covered with tools of the trade. This is fun in a different way, as I pull work out from stacks and flat files, paying close attention to  their description of what they have in mind. I will be doing more of this than usual in the upcoming months, since I recently created a program called “Artists in Their Studios”  through our local four-star inn, the Emerson Resort and Spa.

For the artist, hosting these visits hones communication skills, helping to create the habit of talking about the work with ease, fluency, and pleasure. And for the collector or visitor, a chance to sit for a bit, view the body of work in a leisurely way, ask questions, and browse the various articles about and photos of my paintings in magazines, books, and newspapers that I have accumulated.

Inside, a grouping from one of my Open Studio weekends.

Two new 20″X60″ paintings of the Catskills, the left hand one now gone to its new home.

The corner that is ordinarily my primary workspace.

My second easel on the left, normally used for drying work between layers or for the occasional private student.

Moving on to the home party—really a pop-up show—that I did at my biggest collector’s apartment (she owns 35 pieces!). I partnered with my galleriest Emily, of Asher Neiman Gallery. We took all the collector’s work (of mine)  off of the walls, and put up new work of mine, 34 pieces. She did not—understandably—want additional nail holes in her walls, so we needed to be creative to get as much onto the walls as possible.

You will see many of the same pieces that were in my studio, but looking quite different in a modern apartment. Once again, doing the set-up was thoroughly entertaining, and over the next several days we enjoyed the  interaction with our visitors, who came from her mailing list and mine.

There is another way to do a home party, where the host is present and invites friends and acquaintances who love art. The fun for them is in seeing their home transformed, and often they will want to keep a piece or two for themselves.

This piece, currently over my couch, looked great in the living room of my. collector’s Fifth Ave high rise apartment.

I had brought a stack of wreath hangers so that we could hang work on the many closet doors, but then saw that they were much higher than I remembered. Emily’s husband Simon thought to double the hangers, end to end, to get the piece down to the right height.

The triptych is hanging on closet door pulls, here, as well.

Then Emily thought to hang work on the door pulls of those closets, which gave us spots for four more pieces.

We loved how these two pieces from my Affinity Series looked in the bathroom.

The same piece that had been on my studio floor the weekend before, here on the wall of the guest bedroom.

We were able to make effective use of the entry, where the light was particularly good.

These events are a tremendous amount of work to organize and execute, so I am ready to be back in my studio as the working artist.

All good!