In 2011 I wrote a post describing some quirky and heartwarming stories that led to a sale or sales of my work:
Since then, I have accumulated a few more that I want to share.
My seven-year-old collector:
Several years ago I was approached by acquaintances who live in our little hamlet. Could their younger daughter interview me for a school project on her favorite artist?
Juliet had accompanied her father Brett to an open studio I had hosted several months prior, and so thought of me (the other kids did mostly Picasso or Van Gogh, I think!).
So we did that, and then Juliet returned to my studio for a private art class. Her mom, Rebecca–who I barely knew, at that point—read in the yard while we did our session, and at the end she came into the studio and we chatted. Juliet was still quite shy at that time, but summoned her courage to ask me how much I charged for my paintings. Her mother feared that the question was rude, but I said, no, that asking for price in an artist’s studio was perfectly acceptable.
So I pointed to a 36″x36″ and said, “This painting will go out to one of my galleries shortly and is priced at $6,000”, and then I pointed to a few other pieces in a stack and continued, “but those pieces in this stack” and I pulled out one that had been in the possession of my sister for years, “are much, much older and I will sell to a friend for a few hundred dollars”.
Her mom and I continued chatting, and then Juliet tugged on her mothers clothing. “MOM, I want to buy a painting.” Rebecca was floored and a little embarrassed, so I picked up what I thought was just a conversational ball. “Juliet, if you were going to buy a painting, which one would it be?
“That one”—she pointed to the stack, where I had stashed the earlier piece behind a few others. I pulled it out again. “I want to buy THAT one.” Her mom tried to backtrack, or at least table the conversation for later, but Juliet was having none of it. “How much would you charge me for it?”
I thought quickly. I could certainly have happily gifted her the piece, it was clear that she wanted to purchase it. So I told her that I would sell that painting to her for $150. “MOM, she said, I have savings and I WANT to buy the painting.” It went back and forth like that for a bit, Juliet also insisting that they take the painting NOW.
And so they did.
Her parents made the great call to have her go with them to the bank and make her first ever withdrawal and then bring me the money herself.
The angelic-looking and very strong-willed young artist:
I have since enjoyed getting to know the whole family better, as Brett and Rebecca have acquired a few pieces of their own and we have shared a glass of wine or two.
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She googled “Moody Greenscapes”:
And the study for the piece:
So that was just about that for that, as she explained:
Painting from 1987:
A few months ago I received an email from a fellow asking about the inspiration for this painting:
I have to say, I was very excited to see this piece, to me a standout from my abstract figurative period in the 1980’s when I was living in NYC. I remembered the sale of it to a woman who was accustomed to collecting high-end work, and I had always wondered if/how long she had held onto it. Frankly, given what else she had on her walls in her Sutton Place apartment, I was afraid that it had ended up in a dumpster.
It turned out that she does indeed really love her art–all of it, no dumpsters—even those pieces that have been switched around to different residences and in and out of storage. A few years ago, she offered to gift this piece to her sometimes personal assistant/friend and her husband. And so, it ended up in their California home…and sparked the inquiry.
I was communicating with Rich, the husband, batting info back and forth. Eventually, it was his idea to purchase two small pieces to go on either side, accommodating their budget. After studying the photo of their living room with the painting (which we started calling simply the “Sisters” painting, as is is a stylized image of me with my sister Karin behind me), I realized that monotypes would be the best bet, both for color/affect and for price. I recommended going with the pop of warm color that is in the painting, rather than trying to match the greens.
Then the couple decided that they wanted two more prints, for other spots in the room. I sent the four of them off and the next day got the email below:
“Love them! Thank you. I can’t wait to get them framed!
These are the other two that they acquired:
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Does a gift qualify as a sale?
Some 12 or so years ago we had a holiday party and Gary Alexander, art and science writer from Woodstock, came with his girlfriend. He had been introduced to me years before by my then-gallery, the James Cox Gallery, and had gone on to, over time, write extensively about my work. (This included an 8 page article that got into Freud and brain science and required some serious focus, even for me.)
I had my studio heated and lit that night for those who wanted to take a look, and Gary, of course, did. After a bit of circulating on his part, we went out together and he pretty quickly got snagged by a 36″x36″ painting that was almost totally in black and white, big stormy sky gleam over our Catskill mountains backlit to black.
I can’t find a jpeg of the piece, but it had a look very similar to this one, but with a black mountain range in front:
A bit later, when I went back out with another friend, Gary’s partner was kneeing on the floor, rapt, in front of the same painting.
A few months later, this piece began to—ugh!—develop fine cracks in the surface. It was a new brand of stretched linen I had tried, quite pricey, and I think now was actually stretched too tight, a rare thing. Sadly, this painting was not going out to one of my galleries, even though these cracks were not visible from a few yards back.
I knew immediately what to do. I called Gary and left a message on his machine. Can you come by the studio, I have a surprise for you?
He was there within the hour. A gentle, laconic fellow, he did not stay around to chat after I gave him the painting, but his face said it all.
I am quite sure that it was the last time I saw him. He passed away in 2017.
I hope his girlfriend is still enjoying the painting.
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To Madrid on the private jet:
One more, a quick one, because that is how the sale happened.
In June of 2017 a fellow was drawn into my gallery on Martha’s Vineyard, the Louisa Gould Gallery, by a very large marsh painting in the window. That piece was too big, but sitting still wrapped in the gallery was my season’s delivery, dropped by my husband earlier that day. The fellow, from Madrid, helped unwrap a new 44″x68″, and fell in love with the piece instantly. His wife concurred. Problem was, would it fit in their private jet?
Just then, his pilot walked by the front of the gallery and was promptly hailed. Would this piece fit? Hurried consultation in Spanish. Yes, it would!
The piece was wrapped back up and invoiced and paid for, and out the door it went.
The whole encounter took about 20 minutes.
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I have been steadily selling my work for decades, resulting in many hundreds of pieces going out to homes, offices, and public collections around the country and the world. These stories remind me to be grateful for each and every one of those sales, but you can see that most of the ones that stick with me are not necessarily big in dollar amount, but big in heart.
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.
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.
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.
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:
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:
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:
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.
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:
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.
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:
For the last demo, in December, I worked in pastel, completing both of these during the two afternoons:
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.
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):
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In April I went to Florida to do a large painting for my friends Karen and Len:
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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.
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.
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:
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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.
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:
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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.
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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. ♥
This spring my mind has been on many of the seasonal imperatives, like creating new work for my galleries on the Cape and Islands and sorting through and shipping or delivering their selections. It has also, after a huge jump-start on my Atlas Project during my residency at the Nantucket Arts Association, been very much on advancing that exploration; and the spring has been spiced up by a few other new projects.
I have scheduled a talk to discuss my Atlas Project for July 15 during the Shandaken Artists Studio Tour, 4:30-6pm. I am currently developing the third sequence, Atlas/Hudson Valley segment. This means that, in addition to other work in my studio, I will hang a grouping of each of the sections that I have been working on this year: Atlas/Forms of Water/Snow; Atlas/Island (Nantucket); and the most extensive sequence to date, the Hudson River and Catskills work and mapping thereof.
In my studio work progresses on my third prototype map for this grouping, which will include mini-monotypes of the paintings involved; maps of various sorts of the area; and a number of other elements, both descriptive and visual. I am hoping that this map will be the working template that clicks for me so that I can use it for new groupings/exhibitions going forward. This involves lots of trial and error, applied problem-solving and then experimenting with the materials (maps, acrylics, printmaking, rice paper, collage, river mud, etc.).
I have found that when I pose myself a complex creative problem to be solved, following a simple process works quite well. I start by seeing how far I can think my way into it, often using moments when I am driving or walking, and when I hit an aspect or aspects that stump me, I plant those as a seed, and then let go of the conscious effort. Some time later—usually weeks—the answer will pop into my head, my subconscious having been at work on it all the while, sometimes aided by new information that comes my way in the interval.
Here is where I am so far with the latest Site Map and associated prints:
Above and below are a few of the Hudson River & Valley/Catskills paintings that are part of the new sequence:
My new series is bringing me ever closer to the many aspects of the natural world that I have in the past observed, researched and delighted in. Which of these things and how they can manifest in the work is the adventure. As is true of most meaningful new endeavors, the space this holds for me is both stimulating and disquieting.
My first gallery show of Atlas/Hudson Valley is scheduled for 2018 at Thompson Giroux Gallery in Chatham, NY.
To view more oil paintings that are currently in my studio, click here:
During spring I am always preparing to deliver or ship new work to my galleries in Martha’s Vineyard, Nantucket, and/or Cape Cod. Below are some new pieces at the Louisa Gould Gallery in Vineyard Haven on Martha’s Vineyard. She always has a beautifully installed grouping of my work on display throughout the year, so please stop by if you are on the island.
My residency at the Arts Association of Nantucket in February resulted in many advancements in my problem-solving curve for the Atlas Project; a number of small paintings; and some monotypes (see my blog post on the residency):
The five monotypes hanging below are a the results of printing sessions in both Woodstock and Nantucket.
And a few others:
See more of my prints and pastels here:
In April I flew to South Florida to do a large painting for friends with a new house there. I managed to pack in one big suitcase everything I needed, including the 16″x20″ version of the wave image that I had painted ahead of time. The one thing that did not fit in my suitcase was the 48″x60″ stretched linen canvas, which we had shipped from my wonderful stretcher-makers in Vermont, Brickyard Enterprises.
I had exactly one week to do this large piece and so, concerned about the possibility of things going wrong, I put in long days for the first several, working under an overhang in the pool enclosure.
Happily, nothing did go wrong, so we had a finished piece on the wall ahead of deadline and then I got to play, spending time at the Morikami Gardens and the beach (more wave paintings to come!).
My winter-spring show with Albert Shahinian Fine Art wrapped up in early April. We had a nice run of of two receptions—one at the gallery and one at my studio; a number of sales of pieces small and large, old and new; and an interview with the Poughkeepsie Journal containing questions that I quite enjoyed:
Several of the pieces that went to new homes from our show “Gallery/Studio: A Symbiosis”:
I am teaching four more workshops in 2017, several of them new. In my workshops I emphasize composition as well as color, and share not only my techniques, but also an eclectic delight in many styles and aspects of contemporary and historical art.
The Woodstock School of Art:
I have plans for some new pastels in the near future—its a good time of year to approach these, with the studio windows wide open (ah, and I must mention sounds of birds and the creek behind my studio), mitigating any effects of flying dust. Below is a fairly recent one, in which I was pushing the color somewhat.
Over the years I have at times felt pressure from some of my galleries to work brighter. I am very often a moody painter, though I don’t ever want to limit myself to any palette, locale, format, or mood. I do love a bright sunny day, but painting dramatic clouds and subtle, tonal color often draws me, and many of my collectors will follow me into that terrain.
With the pastel above, I set myself the intention of not going as dark along the horizon as I often do in a seascape, and in general keeping the colors more saturated or desaturated with white instead of grey. I wanted to see if I could make myself happy with a lower contrast, brighter image. And I did.
This is turning a request, essentially, into a creative problem. When people ask me how and whether being a full time, self-supporting artist affects my decision-making in the studio, that is part of the answer—that if I feel that I am being nudged in a particular direction, can I turn that into an interesting problem? And after I work that one out, what else can I do that is generated exclusively by, to use Kandinsky’s term, inner necessity?
Additional works at the gallery:
The specifics of how to create a less literal landscape painting seem to be a constant topic of discussion with my students, especially those who don’t come from an art-school background where the artist spends formative years in the mix, constantly exploring or discussing different ways of making art.
I have previously written about the toggle between formal concerns and storytelling in representational work in the following post:
And about pure abstraction in this post discussing the shows of Ellsworth Kelly, Jenny Nelson, and Melinda Stickney-Gibson:
Stepping further into how to break down this discussion, I see that most non-realist landscape painters are combining several ways of achieving this, and that the methods fall broadly into the two categories of what you choose to paint (and leave out) and how you choose to paint it.
In the image selection arena, the artist can either choose a view that had reduced detail for an open, minimalist landscape, or a macro view that has a prominent pattern —-for example, a rock cliff , sundappled water, or a glen of tree trunks.
The tools that the artist then employs in the painting process to emphasize abstraction can include simplifying, flattening, or distorting the shapes: reducing the amount of elements included; changing naturalistic color to non-literal choices; and/or unifying the surface with brushstroke or other technique to create overall texture or pattern.
I have selected pieces from a number of contemporary artists who explore this terrain, many of whom I know or am friends with. In most cases artists are combining several of the approaches mentioned above, using pictoral tools that we, in this generation, have been fortunate enough to inherit and absorb from centuries of painting. The contemporary landscape painter then draws from the smorgasbord that art history provides and, putting it all in a sort of personal artistic blender, comes forth (usually over time) with their own version of the abstracted landscape.
Because the combinations are personal and often subtle, I have chosen to discuss each painting on its own merits rather than sift them into the categories introduced above.
I should add that I love gestural and color field abstract painting and generally am not so interested in realist landscape work. But having long ago chosen for myself a stylistic swath that lands somewhere in the middle, I find these explorations to be endlessly exciting, both in my own studio and in the work of other artists.
I couldn’t resist selecting this piece of Stuart Shils, as I have also painted this dramatic locale in Western Ireland. It is just clear enough that in foreground we have farm fields, but the second shape is so peculiar that the mind could read it as abstract. So, by choosing to paint this bit of cliff that wends its way out into the Atlantic in a long curve, the artist has chosen subject matter that lends itself to abstraction and has also painted it in a broad, loose, and painterly way, emphasizing the color field aspect of the shapes within.
Deborah has selected as her subject matter in this painting broad areas —and only two–that lend themselves to a patterned surface. It is key to the painterly beauty of “Sparkle Square” that the flecks of reflected light are varied in placement and shape, as are the shallow waves and subtly shifting color. Mystery is created by the dark shape of the shore. This is an example of the artist both selecting an image that is abstract in its simplicity and rhythm, and enhancing those aspects in the surface treatment.
Hannah, who also paints pure abstraction, selects material for her landscapes that has a feel that suits her sense of shape—squared off rhythmic forms that repeat within simple divisions of sky and land. In “Windham” I love the way the sky is so different from the ground—the sky like a Rothko and the ground a de Stael. At the same time, the mind reads them perfectly as an ethereal sky and cultivated sweep of land.
In Eric Aho’s ice series, the view is more pulled in than expansive, creating opportunity for very strong compositions that play with the formal elements of shape and line within a reduced color composition. The black shapes have depth when the eye reads them as descriptive—cracks in the ice leading to water below—but also emphasize the directionality of the fractured shapes as they point toward each other and the center of the piece. My eye delights in the play of shapes with this piece every bit as much as it does with a completely abstract painting.
As I have long influenced by the mid-century generation of American color field painters, this piece of mine reads as near abstraction, sitting on top of the picture plane almost before it reads as landscape. My selection of tidal flats as subject matter—already so stark and minimalist—is the starting point, enhanced by flattened shapes with subtle variations in color but no descriptive textural detail. The strong horizon evokes a vista, but turn this piece on its side and you have an abstract painting.
Brighter-than-literal color is not of itself abstract, but combined with the simple fields of color that Wolf Kahn is known for creates a painting that sits right up on the surface plane. In addition to his famous barns, Wolf has also worked extensively with the repeated motif of tree trunks moving across the canvas, creating the patterned effect discussed above. In some paintings this is a more regular and more pronounced repetition, but I particularly liked the color in this piece and the way that the folliage is treated as diffuse scrubs of color. Look carefully, though, and you can see that as soft-edged as these shapes are, they are very particular, varied, and elegant.
“Waves at Jenner” uses brush stroke to create both an energetic expressive field and at the same time capture the feel of big surf crashing on rock, all of this using low-key, tonalist color. To my eye, the mind reads the scene perfectly for what/where it is, but the white strokes are actually more abstract than descriptive, sitting up on the surface of the picture plane. Arnold works in both abstraction and landscape painting, and this piece falls beautifully somewhere close to the middle of that spectrum…but rather closer to abstraction.
Heather very much starts with the first strategy, reducing the content not only by choosing the simplest sea and sky imagery but also by eliminating detail within that. The subject is just recognizable, mostly because of the horizon and the gleams of light in the sky. The color is dense and murky–and also gorgeous—evoking one of those heavy weather days, but even more so a color field painting that sits on top of the scumbled and blended surface.
In “Outlook XVI”, as in other work by this artist, the soft blend is a wet-into-wet technique starting with a little more detail than many of the pieces discussed here. The surface is so heavily blended, however, that the subject matter takes a back seat and the viewer’s attention is brought to the movement that Jeorg made to achieve this effect. The result, in a descriptive sense, feels both like moving weather and as if we are witnessing the scene from a moving vehicle. As a whole, the technique crates both dreamy narrative and energetic abstraction.
This monoprint of Steve Dininno’s is a study in monochromatic color and and reduced detail. To abstract an urban view—a scene that is inherently busy—certain light/weather phenomena are generally employed. In this case the image is being swallowed in fog, allowing the graphic elements to swim out of its implied depth even as the lines of perspective lead the eye forward into the scene. That there is so much interest in “Boardwalk” while at the same time so much empty space is a clear demonstration of the power of the less-is-more phenomenon, when skillfully done.
These trees and, I presume, a light pole, are about as un-fussy as they could be. They, and the blended and scumbled surface relate to the Wolf Kahn piece. However, the eye here is funneled back in space, much like in the Steve Dininno above, and the analogous color composition is quietly moody. The foreground blacks help anchor the piece, creating contrast within the otherwise low-light scene. This piece balances beautifully between capturing the mood of a moment and place and pure, delicious painting.
In this piece Kate uses surface texture to work the sky into a color field that is only just recognizable as a cloud bank. The shape of the shore is simplified, color exaggerated, though she did create a juicy reflection–so much a part of the land-into-water visual experience. The water is quieter than the sky, as is often the case. The white line that was scratched into the pigment on the left is a lovely graphic element that is entirely non-literal. Examining the elements, there is clear back and forth between those that are more descriptive of the scene and those that are more abstract.
Thomas is doing several painterly things in this piece that move it away from realism. There is clear patterning and brush stroke both in the field and the sky above that break up the surface into rhythmic abstraction. Combined with the soft band of fog in the middle distance, this creates a duo perception of paint sitting on top of the picture plane and a recognizable field/sky with atmospheric perspective. The relative symmetry of this image also illustrates the point that when a painter reduces the number of elements, those that remain hold an enhanced interest.
Staats is a master at relating shapes and creating light. Similar to my aesthetic, the number of shapes tend to be reduced and surface of them flattened, but the outlines of the shapes themselves have a good deal of subtle variation. In this piece, the paint handling within the shapes is also beautifully varied, the strip of light in a way that describes light itself and the shapes within the buildings in a more abstract manner. The blur on the left encroaching on the foreground building also seems to be more about the movement of the watercolor than about any recognizable visual phenomenon.
On the whole, what makes these all good paintings is that they are successful in capturing both the feel of the scene depicted and the surface, compositional, and color interest of pure painting, allowing the viewer to delight in both aspects. As for all painting, drawing ability is essential, since the artist needs the hand to do what the eye requires; creating dynamic compositions made of compelling—and usually highly edited— shapes, palettes, and surface.
Occasionally, there is an element that is barely or not quite recognizable…but interesting or gorgeous. My comment to my students when this emerges in their work is “I don’t know what that is…but I really like it so I don’t care”. This observation would apply to the irregular light shape on the right in the Fasoldt piece and the field in the Sarrantonio. In many of the other pieces, there is an element or shape that we think is probably this or that…but we are not sure: the cliff in the Shils; the dark shore in the Munson; the orange band in the Kahn—field or hill?; the tidal pool in my piece; the light pole in the Elder, and so on. These mysteries serve to create complex interest as the mind works to accept the mixed metaphor that they provide.
I would like to mention the galleries that I share with many of these artists: Julie Haller Gallery in Provincetown, MA; Albert Shahinian Fine Art in Rhinebeck, NY; Gold Gallery in Boston’s South End; and Edgewater Gallery in Middlebury VT–check them out to see additional work!
This post, designed primarily for the galleries and consultants that I work with, serves as a data-base for oil paintings that are currently in my studio. As work sells or is consigned I will remove it, and new or returned work will be added.
My website– created by Stephanie Blackman Design—was beautifully designed as a calling card. Since I create/sell/move work around frequently, it was never my plan to keep it current at all times. With this data-base I will have a comprehensive selection for you all to peruse and can reduce the number of emails that I send showing dealers my currently available work, as those become outdated quickly also.
Often I am expecting some work back imminently or have a painting on the easel that is almost finished, so please feel free to inquire if you have a particular need: email@example.com. For works on paper (pastel; oil on paper; mixed media/collage; monotype) consult this blog post: https://scheeleart.wordpress.com/2016/11/03/available-workstudioworks-on-paper/
Additional work can be found at my galleries: Albert Shahinian Fine Art in Rhinebeck, NY; Julie Heller Gallery in Provincetown, MA; Louisa Gould Gallery on Martha’s Vineyard, MA; Butters Gallery in Portland, OR; Thomas Henry Gallery on Nantucket, MA; and Thompson-Giroux Gallery in Chatham, NY.