Moody, Minimalist Landscape Painting

Posts tagged “marsh paintings

September Newsletter/Art and Life in the Time of Coronavirus

It has been a lovely summer, even within the unwelcome adjustments required by Covid-19. The outdoors is more important than ever before, with my yard functioning as an extension of my studio not just to dry paintings but also to accommodate a few private students and visitors to view artwork. We continue to be careful.

I have been as busy as ever in my studio, and zoom-teaching my workshops in a weekly class format, a more intense schedule of teaching than in the past. The prep of creating or converting workshop subject matter into these short classes is an engaging stretch of the brain for me, a kind of multi-faceted design problem. I can also reach more people with a remote version, and that feels like what is needed now. Check out the Woodstock School of Art website for details on the upcoming, beginning Monday October 5th.

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The benefit for the Island Food Bank that I have been participating in all season long with the Louisa Gould Gallery on Martha’s Vineyard has been extended into fall. Every sale contributes to mitigate food insecurity. This is our most recent:

 

Magic Hour with Drifting Clouds, 24″x48″.

This painting sits squarely in my-most-favorite-things category, the aspects to what I do that please me the most and that I am the most proud of. The color is unusual and heavily mixed to greys, with the cool and nearly flat grey/green of the marsh and blues, pinks, and a hint of purple in sky and water. The bit of a brighter cool blue, the brightest color in the painting, counterbalances with a certain cheeriness the otherwise dreamy and quiet mood.  It illustrates something I say frequently when I teach color mixing: that you can harmonize more hues from the color wheel if they are desaturated then if they are all bright and strong.

In terms of composition, the triangular shape of the marsh is echoed in the clouds. The whole composition would tend to pull to the left, with the clouds either drifting or tumbling in that direction and the marsh also going off on that side: but the almost centered tree and and point of the marsh to the right pull in the opposite direction and keep the eye circulating within the piece.

In my workshops I have been analyzing dozens of artists’ paintings in the manner of the above. Such fun to do this with one of my own!

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I completed another large commission in July, through Forrest Scott Group and for the surgeon’s lounge in the Florida branch of a well-known medical facility.

 

This piece involved an unusual amount of effort and tuning, since I was doing a large version of my photo of an earlier piece. For that piece, I used my photo reference only glancingly, so it was of little use in the large version. In addition, the designer and art consultant selected the image based on a jpeg of the smaller painting, which had a bit of reflectivity in the sky that I had not noticed earlier and that they quite liked and expected to see, understandably, in the final piece.

It is a complicated sky by any standard, with translucent oranges transitioning to cooler reds into mauves and then a soft plum-color going from left to right: oranges into light naples yellows and into the purples going up. The clouds vary in the hue of their off-white, as well. Not hard to do, just hard to do the same way a second time!

The result was satisfying though. Here is the install pic.

 

 

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This 40″x40″ was done in August, a familiar bend in the Esopus Creek as seen from Route 28 just before Phoenicia. Fog had always been a beloved subject of mine, shapes that softly dissipate.

 

 

I have had a run of one commission after another since last November. I can’t really explain this since none of them are connected to each other, except the below; and that is a story way too long and convoluted to recount. Recently finished, 18″x52″, conveying perfect tranquility:

 

 

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I got an email from an old friend inquiring about this painting, which she had seen on social media earlier in the summer. She said that she had a dream about it the night before, and was it still available?

 

The View from Here, 24″x36″.

 

After a yard viewing with her and her husband and a welcome catch-up, the painting went home with her. A sweet sale in every way!

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A few years back Albert Shahinian Fine Art in Rhinebeck brought a grouping of work to a home in Bronxville, NY, where the family was just beginning to settle into a new home. They decided on one piece of mine, preferring to figure out their lighting and furniture before more art purchases. This past late August Albert brought to them another two pieces that they had viewed at the gallery, and those went up as well.

 

 

 

 

Summer at the Creeks, 36″x24″.

 

 

My benefit for regional food banks continues with Albert Shahinan Fine Art as well. The first one that we did was more of a give-away, in which people could make a donation to the food bank of their choice and we mailed them one—or more, in most cases—of these mini collages:

 

 

For our second one, we went up in size and with another grouping, my 6″x6″ oil-on-board pieces, of which there were twelve at the gallery. After Albert sold a 4″x12″ piece on board and folded it into the benefit, we added the two of that size that he had on hand. Each sale is discounted for the collector by $100 and the same amount is going to either the Phoenicia Food Pantry or the Hudson Valley Food Bank. Here is where we stand now.

These are a few pics of pieces still available:

 

Flooded Roadway, oil on 6″x6″ board.

 

Yellow Gleam, oil on 4″x12″ board.

Inquiries for bigger/better pics of other works still available can go to me or to the gallery.

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Just to introduce this with a quick peak, I have been working outdoors with found natural objects as part of my Atlas Project, creating small installations. This is a circle back to some creek workshops that I did with kids years back, finding the possibilities fascinating but not the time to pursue them. This summer I have allowed myself the gift of some time and focus on the process, which involves a lot or trial and error to come up with an arresting image. There will be more of these going forward, and a blog post soon.

 

 

 

 

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We have been involved in house and studio repair projects all season long, instigating a sorting and reorganizing of just about every living and storage space we have. A cascade of breakdowns starting mid-summer led to emergency U-turns from planned projects…but much progress has been made, including a new laptop, car (a newer used Volvo wagon that I can carry up to 48″ wide paintings in, just like the old!!), upstairs plumbing, side of studio, washing machine, and paint job progressing on the house. We have been in this place since 1990 and have not been keeping up, so the sorting will continue.

It is also getting to be time to bring my houseplants in from the yard. I started with this area at the top of the stairs, where I have settled them amidst some ceramic work of my mom’s, as well as two of her paintings. She passed away last December, and I selected these two 12″x12″s from her estate because they are two of her best and because she did them in my studio about twenty years ago. The mirror was also hers.

 

 

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This newsletter is almost entirely art-related, as I have had so much going on in that arena and feel that I cannot even bear to comment on the state of the nation/world. But here I go: I fervently hope that this worldwide trend towards right-wing dictatorship will turn around, starting here in November. Vote! Vote early and in person, if you can.

 


Art and Life in the Time of Coronavirus: June Newsletter

Our hot, dry June has been a boost for my studio work, and with some ample watering, my garden as well.

 

 

Paintings have been drying readily in the yard, allowing me to move onto painting another layer or dry a finished piece after just a day of sunshine.

 

Castle, 18″x52″, available for viewing in my yard/studio.

 

Tidal Creek with Mackerel Sky, 48″x24″, now safely delivered to the Louisa Gould Gallery on MV.

 

First up in my news, I am open to scheduling yard/studio visits. I have contemplated an open studio/yard event, but am not ready for that quite yet, and also continue to be busy with painting deadlines. Maybe I will feel ready in a few weeks, or in August.

One of the reasons that I hesitate is because I have seen many of my friends and neighbors relax their guard around closer contact with others and mask wearing. The more that happens the more we become, as a community, a network with multiple access points, as far as the virus is concerned. We need to circle back to what we have learned: we cannot trust anyone, not even ourselves, to not have the virus. The virus is entirely untrustworthy, and not in our control. And growing, nationwide. So, distancing and masks—same old lesson. Rinse, repeat.

That said, the outdoors now provides us with wonderful opportunities for safe encounters. So if you would like to visit my studio, we can select a nice-weather day, and with masks you can take a turn around my studio and ask to see particular pieces outside on one of my tables or an easel.

I have done quite a bit of this sort of contact, taking walks with friends and having a BYO everything picnic, 10-12 feet apart with masks and 3-4 feet with them. You get used to it, though it remains hard with family.  And if this reminder is a downer, I am as weary of it as anyone, but see no other course that makes any sense but to stay the course…and live fully in every other possible way.

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In exciting June news, the delivery to Martha’s Vineyard of this season’s new pieces has been safely accomplished, and the Louisa Gould Gallery reopened a few weeks back, following the Massachusetts timeline and protocols.

 

Long Wave, 12″X48″.

 

Tidal Creek with Summer Greens, 24″x24″.

 

Soft Glow over Tidal Flats, 30″x60″.

 

My other galleries that have been able to reopen are Albert Shahinian Fine Art in Rhinebeck (weekends only), with a large selection of my work:

 

Overlook with Sparkling River, 16″x20″, 2019.

 

Summer Hillside, 30″x30″.

And Gallery Jupiter in Little Silver, NJ:

 

Summer Moors, 2 panels of 12″x12″/ea.

 

Affinity/On the Grid, 36″x48″.

 

My online show with Butters Gallery continues. A piece that they have in Portland, OR, was in my thoughts earlier today when we had a strong thunderstorm, complete with hail:

 

Catskills with Walking Rain, 36″x36″.

 

The View from Here, 24″x36″, in the online show and currently in my studio.

Link to the work in the show:

https://www.buttersgallery.com/Artist-Detail.cfm?ArtistsID=486&ppage=120

As I prepare to begin work on another commissioned painting, I still have a glow from the recently finished one, a 6’x8′ canvas installed in a private home at the beginning of this month. Here is my blog post on this ambitious piece created during the constraints of the shutdown, in case you missed it:

https://scheeleart.wordpress.com/2020/06/09/a-large-commission-art-in-the-time-of-coronavirus/

Recent sales have included these pieces, through the Louisa Gould Gallery:

 

Summer Marsh with Junipers, 40″x40″, 2019.

 

Seaview Dusk, 18″x24″.

And this one, through Albert Shahinian Fine Art:

 

Path, 48″x40″.

Last but most definitely not least, I am teaching my color-mixing workshop remotely through the Woodstock School of Art, 10-11 am for four Mondays in July, starting July 6th. It has been an enjoyable challenge consolidating the information to fit into the time frame; the live-stream requirements and limitations; and to a lecture/demo rubric (as opposed to my usual conversational style). You can see more here:

 

CHRISTIE SCHEELE COLOR MIXING FOR PAINTERS ONLINE COURSE

 

 

If you are an artist who works with color, how would you mix these greens? Green is very complex because it is to begin with a secondary color, made up of blue and yellow. So, it can go toward the yellow or toward the blue; also toward the brown; and then there are tints, tones, and shades. The below doesn’t even go very brown or yellow, but you could still mix a palette with dozens of colors to capture the nuance.

 

 

Happy greens of summer!


Art and Life in the Time of Coronavirus, May 12.

May 9: I  had thought to leave off posting until I complete my 6’x8′ commission and finish the blog description of the process, but find that I miss the diary.

Snow last night and today, actually quite dark and blizzardy at intervals this afternoon, alternating with sun flurries. It seems almost cruel that our spring is so delayed, when we crave the comfort of warm sunshine and a softer outdoor experience. For me, key to that is our screened-in back porch, my warm-season living room. A day in which I can have my siding door open to the porch and take my meals and do my online work out there is a good day .

But, while cringing on behalf of my snowy flowers and leafed-out plantings today, it popped into my mind that this weather might have its uses in slowing the spread of the virus. Warm days have brought with them prematurely reckless behavior. So maybe this prolonged chill will allow the curve to turn from its current level to downward, and save a few lives.

The news is not good at all and makes me despair about human idiocy, American and otherwise. So I unashamedly grasp at straws.

May 10th:

On this Mother’s Day, the first without our mom, I am fortunate to be doing the things that I have always chosen on this spring day in which I feel free to pamper myself. Sometimes the weather has been 45 and rainy and put a damper on my busy-in-the-yard plans, and yesterday’s snow would have been the kicker…but today we have partly sunny and in the 5os.

Ordinarily, I would have gone to Oneonta with my sister Carla yesterday, the Saturday before Mother’s Day, to have lunch and a nursery visit for hanging pots and annuals with our mom. I always brought flowers from my yard on every visit from April through October.

 

Mother’s Day bouquet from 2019, in the front seat of my car.

 

And later in the season, another.

When we finally scatter her ashes in multiple places, I hope it is during the growing season so that I can include some flowers.

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The crumbling world around us cries out for help…socorro, socorro! I can only think in small, manageable bits about it, or it threatens hopelessness that sabotages action. So, to begin somewhere, I created a fundraiser last week in collaboration with Albert Shahinian Fine Art. I  offered to give a small collage from the eleven left at the gallery after an environmental fundraiser last fall to anyone who sent me a receipt for a donation of at least $40 to a food bank of their choosing. They all were spoken for very quickly and we raised about $500. Albert sent them all out a few days ago from the gallery.

Just a start. I’ll be thinking of more, and ASFA is on board for more collaborating. I do like to use my art to raise money because it is my ready resource that folks value. These little pieces went mostly to prior collectors and a few to a student or mentee not in a position to buy a market-priced piece. I used only social media so for the next thing could readily access my best outreach resource, which is my mailing list.

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I am also involved in a fundraiser for the Island Food Bank on Martha’s Vineyard through my gallery there, the Louisa Gould Gallery. Her shows this spring and summer are an opt-in for gallery artists to join her in donating 10% of sales for food security, with every dollar raised going for $7 worth of food.

We just made a nice sale of these two pieces, accomplished through shipping, as the gallery has not yet reopened.

 

Chillmark View, 40″x40″, 2019.

 

Summer Inlet, 48″x24″, 2019.

Here is a link to the current online show of new work at the gallery:

https://www.louisagould.com/exhibitions/2241/1/BENEFIT_Art_Show_for_Food_Pantry.html

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My big studio project continues to be the 6’x8′ commissioned version of this 30″x40″. I am creating an in-depth description of the process for an upcoming blog post.

 

Largest “study” I have ever done—and in fact, a fully realized smaller version of the large piece.

 

Stay healthy, y’all, and let’s keep each other safe!

 

 

 


Art and Life in the Time of Coronavirus, April 17.

April 12: Today is our Dad’s birthday. We had a sweet Zoom party with family, just missing Tessa among the grandkids. Tony is not in this screen shot, but he hung out for the latter half.

 

 

Then Tessa texted a few hours later that she is out of the woods and at Zac’s house. We should get some more detail tomorrow about her plans.

 

I am creating a zoom painting workshop for a few students who are, of course, stuck at home. Like so many others, they thought that there would be so much lovely down time, but the experience may instead present itself as a big void, punctuated only by anxiety-producing details. (Like, for one student, that she is self-quarantined in a small nyc apartment and her immediate neighbors have the virus, with at least one of them being taken to hospital. So this would make her fearful of her own hallway.)

I am looking forward to the challenge of connecting within the technology, which in this case will be much more intricate than with my hour-long yoga classes. But I’m aware that it doesn’t matter how much we have to muddle through. While I am always conscious the of the information I want to share with my students in any workshop that I teach, I think that just now, being together will be the best thing about it.

April 14: Talk is all about how we will come out of this confinement. It is clear that is will be tentative, messy, little-by little, and still involve infections and death. This virus is so very intricate in all of its details. This was clear from my early reading about Wuhan as they were fumbling about trying to get the first handle on it.

It seems that it can spray way beyond 6 or even 10 feet just through conversation. It appears possible that the incubation period is, on outside, more than 14 days. They worry that a vaccine will not be useful due to mutations, so a treatment is vital. They know that infected folks can be contagious while symptom-free or pre-symptomatic, and that tests often are false negative (not that we are doing nearly enough testing).

So, it seems that we cannot open back up again, or even maybe live in the next several years, with any assurance that the virus is gone. Maybe it is now a part of life on earth, going forward?

 

In studio, so busy! This is the edition of my first three color reduction linocut, though they are all inked differently and so technically not an edition.

 

I planned this print for my Atlas/Watershed site map, in progress. It shows the streams’ normal flow, along with flood zones areas and the extreme breach cause by Hurricane Irene in Phoenicia. Shown are the Esopus; north of it the  Stonyclove: Oxclove (which runs through our back yard) and Warner creeks.

I am thinking of one of these for the map, mostly as a color choice:

Still working on the oil-on-board pieces. What makes me happy? How I tweaked the line of the swash multiple times to create that subtle lift and almost vanishing to the right. Just that one thing, the last that I did, took me from liking to loving.

 

“Carrying On”, 6″x12″, oil on board.

 

Diagonal Shoreline, 4″x12″, $650.

It looks like Tessa will stay in Minnesota for the time being. Reentry into her VT community would include her roommate, who works with (essential businesses) farming and food security, self-isolating, and she could not see friends nor work (like all of the rest of us!). So she is better off in Minnesota with Zac and the 5 others with whom she has been in the woods maple sugaring for the past few months.

April 16th:

Trump is becoming more and more unhinged. I am amazed that it is even possible. He does love conflict, and has reverted—after a short spell of acting almost presidential a little bit of the time, due to national outrage at his irresponsibility over the Covid-19 suffering—to fomenting fights among our states and backing demonstrators against stay-at-home restrictions.

He is severely mentally ill and cannot sustain even the appearance of normalcy for more than a few hours. It makes those of us who are rational scared to death for the future of us all.

 

I did some color-mixing and related painting conversation via Zoom today with a few students with whom I am friendly. We worked out some bugs and they were happy to take steps forward in their painting practice, as they shelter in place.

This is a spiffed-up version of our chart for mixing blues, using just three colors and black and white:

 

 

April 17th:

I did a few last tweaks on the new Path painting this morning:

 

“Path over the Headlands”, 48″x40″, available through the Louisa Gould Gallery.

 

I’ll be starting a blog post that will document the process of creating a very large commissioned piece, 6’x8′. This is a multi-step process even for a smaller piece and in normal times, and is involving even more logistics due to the size and the constrictions that we are living with. I’ll  publish the post once the final piece is completed, some time in June.

 


Winter Studio

Snow Fields, 24″x30″.

 

This time of the year always brings of thoughts of change and transition, loss and renewal. As 2019 has rolled over into 2020, these reflections are much more intense, intricate, and prolonged for me, as I recently lost my mother…a major life event; a huge transition.

My father-in-law, not a religious man nor particularly self-reflective, used to have a timely  observation in times of trouble. It went something like this: “The chapters of the good book begin with ‘And it came to pass…’ They don’t begin with ‘And it came to stay…”

The things/people/practices that we love don’t always come to stay, any more than the difficult or painful situations. It is one of the things that is interesting about mindfulness practice, that as we focus on the moment, the moment is gone. And then the next, and the next, and the next…

My understanding of mindfulness is more like riding a wave, the mind following each moment along the way with focused attention. I discussed this form of happiness as it applies to a creative practice in an earlier blog post, “Creativity and Happiness”.

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

And this brings us to the winter studio. As life is quieter and the colors less vivid outside of it than  during the warmer months, the potency of the creative life inside intensifies.

Snow cover bounces light into the studio and makes a perfect neutral foil for open color exploration within. Instead of open windows and doors inviting in the sound of the stream and birds, I often play the radio or listen to podcasts or music. The summer feel of expansiveness is replaced by a distillation of energy as focus narrows and intensifies.

 

Embracing Pink, oil on board, 3 panels of 8″x8″/8″x10″/8″x8″.

My winter work often feels sunlit. Without the canopy of leaves covering our hamlet in the central Catskills, the sun streams at a dramatic slant into my house, my studio, and the yoga studio where I practice and teach…and then is gone, as day moves quickly into evening. We count the minutes of returning daylight…

 

Angle of Light, 48″x48″, recently finished.

In December I ordered an enticing assortment of custom-stretched linen for my winter work, and now have, at the ready, this stack of canvases in an array of sizes and formats:

 

 

I started work immediately on the largest one, a 44″x66″, almost finished:

 

 

I am also generating ideas for my next Atlas Project installation, this one focusing on rivers and streams, exploring the ecology of my local watershed. In my Atlas/Forms of Water show I solved several problems that I saw carry over from the previous Atlas Project installation. At issue now are verbal/written components more than visual ones: how to get my “Mapping Memory” stories in a more accessible form; and how to bring more natural history and climate change discussion into the installation.

 

Riverbed Map #3, linocut/monotype on paper, 6″x12″; a map image of the Esopus, Stonyclove, and Warner Creeks; and the Oxclove that runs behind my studio.

I am seeing stream-like formations wherever I go…including places I have been many (for this  image, thousands!) of times. Can you tell what we are looking at?

 

 

And the other day I saw this gorgeous Motherwell painting in a catalogue that I have in my studio. Viewed vertically rather than as the horizontal that it is…another stream…

 

 

A few paint-mixing sessions with my good friend Jenny Nelson in her winter studio have yielded new teaching tools. My color-mixing workshop (next held at the WSA, June 22-23) brings the student back to primaries and how all color evolves from there, which is a very complex undertaking.

Our intention with this collaboration was to pretty much do the opposite of that detailed breaking down of color, instead creating simple, limited palette exercises—using mixtures or primaries from the tube— for new students or those who feel color-blocked.

 

First up: mixing neutrals from just a few tubes of mixtures.

 

I will use some of these prompts in my next workshop at the WSA. Constructing/Deconstructing the Landscape (April 17-19) focuses on compositional strength, so a few structured color shortcuts to augment this emphasis are a welcome tool.

 

Blues, keeping it simple.

 

Mixing a warm palette, just two colors and black and white.

These were the palettes that evolved as we brainstormed and mixed, discarding some earlier versions. Now we will each re-do these on paper in our studios with better placement and clear labeling for sharing with our students.

 

Greens. This more for my students!

 

Our ongoing conversations about our classes and workshops always include the abstract/landscape discussion, since Jenny teaches abstraction. Mixing color is one thing when you are using a reference of any sort, including working from life, even if you will likely want to tweak and adjust. It is quite another when you have not even a  suggestion of a road map and mixing your palette is the first step in figuring out your abstract painting on the easel.

Longtime friends, some cross-mixing, some laughter.

 

The collage exploration continues to fascinate me. I went from earlier just-barely-landscape versions (about 8-10 years ago) with altered papers, book bits, pattern paper, a bit of paint:

 

Wetlands, 6″x6″.

 

To the collaged maps, made with many bits of hand-dyed rice papers and other things (wasp wing, samara, dried leaves, pattern paper, old books, a bit of paint):

 

Hudson Canyon, collage on board, 12″x12″, 2018.

 

To a simplified version of the above, where I am working more with effects created while dying the papers, and then using larger swaths of them. Here are some of my latest:

 

Dancing Trees, 4″x12″.

 

Wrapped up in a Bow, 4″x4″.

 

Lost and Found, 4″x4″.

 

Conga Line, 4″x4″.

 

I am very pleased with this beautifully produced recording of my December interview with audience Q&A at Albert Shahinian Fine Art, by Brett Barry of Silver Hollow Audio.  The discussion ranges from my decades  of contemporary landscape painting to the environmental themes of my Atlas/Forms of Water show to the gallery-artist  relationship.  You can listen here:

 

 

I am doing final updates on the blog post about this Atlas Project show, which was the highlight of my exhibition season for 2019. Here is the link:

https://scheeleart.wordpress.com/2019/08/16/atlas-forms-of-water-2019/

On this day of pouring snow, everything else I had planned has been canceled. And so, I get to be in here:

 

And soon enough, it will look like this:

 


Spring 2019

This last week of April/first in May I am hard at work preparing paintings to go to Louisa Gould Gallery on Martha’s Vineyard. My sixth season with the gallery—and 20+ showing on the Vineyard—we are in a good groove together, and both excited about this line-up for the season.

 

Surging Swell, 48″x48″.

 

Menemsha Summer, 36″x66″.

 

Chillmark View, 40″x40″.

 

Summer Marsh with Junipers, 40″x40″.

 

Seaview Dusk, 18″x24″.

 

Setting Sun, 12″x12″.

 

For more, you can go to the gallery website:

http://www.louisagould.com/gallery/search/results/?q=Christie%20Scheele&exb_id=0&n=0&k=0&d=0&m=2&a=1&subject=0&medium=0&p=0&page=1

A recent sale at Louisa Gould Gallery was the winning selection of a fellow who thoroughly researched my galleries’ websites and then sent inquires about pieces that he liked to five different galleries. After careful consideration, this is what he chose:

 

Mutable Blues, 24″x36″.

 

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Reaching back to last winter…gone but not forgotten. I taught my Constructing/Deconstructing the Landscape workshop at the Woodstock School of Art. This is a very structured course, especially the first day+, dialing in on compositional shifts and how they affect movement, directionality, and mood. I always love what evolves, and this incarnation was no exception.

Here are a few of the student-executed exercises.

First, just hillside and tree or two in black gesso. Then move them around; change angle and division of picture plane; different type of tree. Several thought to break up the hillside.

 

These are all done by different students.

 

One student’s take during day #2, adding color and further tweaking the shapes.

 

Day #3, a another student’s painterly version.

 

This workshop feels like a slow flowering from tightly following direction early on to a much more open expression, integrating lessons learned along the way. I feel grateful for the trust that I am given to lead this guided work, since at the beginning of the workshop students feel a little hemmed in and have to go on faith that there are reasons for this, and that we are headed somewhere quite satisfying.

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The first quarter of 2019 has been busy not just in the normal progression of events, projects, and deadlines, but also unusually so in the shear number and complexity of sales. Some of these required a fair bit of waltzing on my part, often accompanied by one of my galleries or consultants and assisted by my husband.

As you can imagine, each of these has a story.

A few of these stories:

In late February a designer I work with in Piermont NY, Ned Kelly, called in regard to the large painting below, wanting to show it to a client who already owned a smaller piece of mine. So off we went, my husband and I, that painting and a few others in tow, to meet up with the designer at the client’s home.

 

Engaging Greens, 36″x66″.

The piece actually didn’t work in the planned spot, so Ned headed upstairs to look for another likely wall, finding it above the bed in the master bedroom, across from my smaller piece that they owned.

With five people in a huge house, conversations splintered off, grouping and regrouping. By the time the painting was settled upon and the below smaller piece brought in from the car and actually installed, we had ranged far and wide, through good-natured expletive-laced teasing and the performative appearance of a shot gun. Add in two gorgeous dogs and a couple of cute kids and you have the whole picture.

 

County Mayo in Summer, 10″x30″.

 

Shortly after that I picked up a phone message from a person unknown to me but with a familiar last name, inquiring about a piece on my website. She turned out to be the new wife of a long-time friendly acquaintance. He and his (now I am understanding) ex-wife had remained on my mailing list for some years since I had last seen them, and I had been picturing them together, with the visiting grown kids and grandkids, exactly where I had seen them every summer for about twenty years.

But big changes had taken place. His new wife wanted to purchase a piece for her husband for their 3rd wedding anniversary. Apparently, the first wife had gotten the painting that they owned in the divorce (something I hear fairly often, actually) and he had been forwarding my invitations and updates along to his new wife, expressing enthusiasm for my work.

I had assumed years of silence meant lack of interest. But this is why I don’t take anyone off my mailing list unless they ask to be removed—I never know who is looking and enjoying and who deletes without opening.

So, after much back-and-forth and a delivery of three pieces for a staged viewing on the anniversary itself, this five-part vertical seascape was selected. I even got to have lunch and catch up with my old friend when he brought the other two paintings back to my area.

 

Seablues with Sun, five panels of 8″x8″/ea.; 40″x8 overall.

There is something in this story that feels very rich to me, maybe starting with the fact that it spans decades of time. There is a lot of life-essence in it—changes, losses, new beginnings, time passing, reconnections, and tracing the timelines of entwined lives.

____________________________________________

 

We did a pop-up house party, a big collaborative effort, in Riverdale, NY. I hadn’t done one of these since the several that I did about a decade ago with Asher Nieman Gallery:

https://scheeleart.wordpress.com/2011/12/13/open-studio-house-party/

My co-conspirators this time were Albert Shahinian Fine Art, my husband, and my sister and brother-in-law, who opened up their apartment for the event. With this crew I had a driver; art handlers; a chef; a party planner; and a galleriest. Lucky me!

 

The living room with artwork installed for the party.

 

A low-light hallway where these three 12″x12″s worked very nicely.

 

Below, a few of the pieces that departed for new homes:

 

Sundrenched Saltmarsh, 20″x16″.

 

Blue Dusk, oil on board in vintage drawer, 12″x3″x2d”.

 

The View from There #2, monotype, 10″x16″.

 

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I have two very different workshops coming up in May and June in the Catskills.

At the Emerson Resort in Mount Tremper, for all levels, an exploration of the imagery of our beautiful Catskill Mountains in May color:

Arts & Culture Packages

And in June, for more experienced painters looking to explore a different concept:

 

https://woodstockschoolofart.org/course/multiple-panel-paintings/

 

On deck in my studio is another incarnation of my environmentally -themed Atlas Project.  Atlas/Forms of Water, a solo show, will open at Albert Shahinian Fine Art in Rhinebeck this September, exact date TBA.

This show will feature all sorts of water imagery along with a new site map, in progress below. Along with the oil paintings, look for map pieces in collage and lino/mono print exploring climate change and sea level rise/storm flooding.

Site map for Atlas/Forms of Water, 48″x36″, in progress.

This builds on the show that I had at Thompson Giroux Gallery last spring, Atlas/Hudson River Valley (you can see the site map for that show in the upper left background). If you missed seeing or reading about the show, here is the link to my blog post on it:

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

Forms of Water explores a more a global rather that locale-specific theme, though my personal forms of water have most often been experienced in the Northeast.

 

Harbor with Shifting Light, 18″x24″.

 

Also upcoming, a small duo show with my friend Polly Law at the Roxbury Arts Group; more workshops; and fresh work heading to Nantucket. More on all of this soon!

 

If you are not on my mailing list and would like to be, contact me at scheeleart@gmail.com.

 


Sweetest Sales, Part Two

In 2011 I wrote a post describing some quirky and heartwarming stories that led to a sale or sales of my work:

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

 

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.

 

“Blue Ridges”, also in the family’s collection.

 

__________________    _____________________________________________    ____________________

 

She googled “Moody Greenscapes”:

 

“Hi,

I was wondering if Green Waves was available?  I have a perfect spot for this painting in my new home and love the story behind this piece on your blog.”
Here is the post that she found:
This sort of email often leads to a discussion about the shipper because…you guessed it…it is a scam.
But of course, I answered politely, not knowing that for sure:
“Yes, the piece is at my gallery in Rhinebeck, Albert Shahinian Fine Art. Someone has been nibbling on it, but has not yet moved.
I am glad that you like the story, as of course, do I!
Where do you live? Would we be delivering (nyc metro area) or shipping? I will loop the gallery in as soon as we figure a few things like that out.”
Then it became clear that we had a price misunderstanding, because there was the big piece itself:

 

 

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

 

And the study for the piece:

 

Second and final small version of Green Wave., oil on paper, 5″x28″.

 

So that was just about that for that, as she explained:

 

“Unfortunately I was hoping the price of the piece was the other one I had seen online since $8,000 is definitely beyond our budget.  This would only be my second piece of original art so we are just now starting out.
I certainly appreciate your response though and congratulate you on beautiful work.  I found you from doing a google image search. I knew I wanted a moody greenscape and from one click to another I found Green Waves.”
Meanwhile, I did offer to look for a different piece:
“If I charged that price for the larger one, it would not even cover the cost of the frame, I am afraid, after gallery commission. This is an expensive business to be in!
If you would like to carry this a little further (I would be honored to be represented in your second piece of original art), we might be able to find something more affordable that you like.”
And then, some communication–she really did love that piece, and it was perfect for her spot—some silence—a bit of dickering— discussion with her husband—much back and forth between me and my galleriest Albert Shahinian—but only about a month later, altogether:
“I can’t believe I get to have Green Waves in our home.  I am so excited. I still cannot believe that not only did I spend so much on a piece of real actual art (instead of all the TJmaxx wall decor I have going on), but that I did so on a piece without first seeing it in person.  All that being said there is no doubt in my mind.  I LOVE love this piece and know i will love it even more in our home.”
And then finally, after Albert packed and shipped the long, heavy piece:
“It’s breath taking.
Thank-you”
____________    ______________________________________________    _____________

Painting from 1987:

A few months ago I received an email from a fellow asking about the inspiration for this painting:

 

Sisters painting, 40″x50″, 1987.

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!

Love them, love them, love them!”

Framing options—the final decision was the warm mat, since these two are printed on ochre-colored paper.

 

These are the other two that they acquired:

 

Monotype/Divided Fields.

 

Monotype/Mountain Stream.

 

________________    ______________________________________________    _______________

 

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.

 

________    _______________________________________________________    _________

 

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.

 

Rolling Cloud, 44″x68″.

 

_______________     _____________________________________________________________    ______________

 

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.

 


Eagle Above, Fish Below: Summer 2018

The surface of a body of water is a reflective, moving, open expanse. Beneath it, the water roils with life—rooted or crawling or burrowing or swimming, lifeforms going about their business of feeding off of each other and reproducing and eventually dying. Above it, life also carries on.

Sky Meets Water, 18″x24″.

One day last July, while staying on Otsego Lake near Cooperstown, NY, I headed to the dock to sit and gaze at the water for a few moments. Looking down at the dock to find my seat, I heard a throaty, loud honk/squack. We had been enjoying visits all week from a mama duck and her nine ducklings, so my first thought as I turned my head was, “that was not a duck!”.

Nothing behind me, but as I straightened to face the side I was now seated at, I saw an adult eagle taking off from the water about 25 feet in front of me. It had been addressing my intrusion, I think!

Shortly after, I decided to make a call to my friend Jenny, with whom I had been playing phone tag. I got her voicemail, and the message went something like this: “Hi Jenny, we’re playing phone tag but I am around today so give a  OH MY GOD THAT IT THE BIGGEST *#!%ING FISH I HAVE EVER SEEN IN A LAKE GOTTA GO BYE”.

The fish was directly below my dangling feet, at least two feet across, lit up by slanting sunlight. I know there are fish in these waters, despite an altered ecology due to Zebra mussels—my husband has caught some other years from our small boat and I have seen them feeding off of bugs at sunset. And yet, it was as if this big fish had crawled up on land and joined us on the deck for cocktails, such was my sense of worlds colliding.

I am puzzling out, ever since, what was so startling about this fish sighting. After all, I have been among whales in our 16 foot boat off Race Point in Provincetown—including a pod of killer whales; froliked with a mola and some dolphins in the harbor; snorkled off St. Thomas among all sorts and sizes of sea life.

I think that my jolt of surprise was about expectations, so often the case. I had for days been focused on the surface reflections, and I lost track of the awareness of how much is going on underneath and that during my daily swims, I was intruding upon their busy world. Seeing this large fish directly under my feet brought that crashing back.

As artists we are concerned with both surface appearance and deeper function and meaning. The surface is mesmerizing and ever-changing, feeding our visually-linked emotional hunger, and soothing our quotidian bumps and bruises. The complicated churn beneath, however, mirrors life in its day-to-day, demanding a nuanced and dedicated attention.

 

Indigos with Glowing Light, 18″x24″.

 

________________________________________________________

 

This summer has served to remind me of how much I appreciate my galleries. It can be rewarding, sometimes, to hop off that train and do something self-generated like an open studio or studio tour; or an event at a non-gallery venue. But ultimately, a gallery is where people go to view and buy art. It is a business whose purpose is to exhibit and sell art, and therefore all effort is going to that end.

Invitations generally go out in a timely fashion, instead of getting buried in the more pressing things that a non-gallery venue might have to attend to. The galleriest installs the show, with beautiful results based on years of experience. Folks walk in off the streets who are interested in art; search for the local galleries when visiting; respond to invites. A showing of a grouping of selected works in a collector’s home gets on the schedule without delay, follow-ups are done to inquiries as a matter of course…and so on.

Rokeby Meadow, 24″x30″, at Albert Shahinian Fine Art in Rhinebeck, NY.

That said, the mom-and-pop galleries struggle to stay afloat, with many more friends and lookers than buyers. So collectors, please support your favorite galleries!

 

Familiar Reds, 11″X14″, at Butters Gallery in Portland, OR.

And if you are an artist with gallery representation, this is how you can help:

https://scheeleart.wordpress.com/2012/04/06/the-art-ethicist-your-relationship-with-your-gallery/

 

Forms of Water, 30″x36″, at Thompson Giroux Gallery in Chatham, NY.

 

Harbor with Sunset Mists, 24″x36″, at Thomas Henry Gallery, Nantucket.

________________________________________________________

 

I had a lovely time teaching this past June in Woodstock and August on Nantucket, with a full house for my color-mixing workshop in both places.

My Woodstock group.

These are the demo pieces that came out of the two landscape workshops:

 

Summer Haze, pastel on paper, 12″x18″.

 

Saltmarsh with Soft Sky, 24″x36″.

 

Seablues with Brilliant Fog, 16″x20″.

 

Three Posts, 12″x24″.

My week on Nantucket was filled with not only with my wonderful students, but also with salt air and good food and warm friendship.

I organized an informal gathering at Thomas Henry Gallery so that my students could see my work there, all of the sea or the island:

A grouping of my work at Thomas Henry Gallery.

_______________________________________________________

 

The Woodstock School of Art invitational Monothon in July was a printmaker’s dream. Imagine having a printing staff at your beck and call, both master printmakers and monitors, facilitating your every move. Master printmaker Anthony Kirk guided and facilitated my hoped-for plan, my first monotype triptych (and then a few more).

 

 

Wave Triptych, three panels of 8″x10″, headed for a show at Albert Shahinian Fine Art.

 

One 8″x10″ was chosen from each participating artist, to be sold at the show there opening September 8th, 3-5pm This is my donation print that will be featured, followed by some of my other wave monotypes.

https://woodstockschoolofart.org/event/woodstock-monoprint-invitational-exhibition-2/

 

8″x10″.

 

10″x16″.

_____________________________________________________

 

 

We will be featuring monotypes and my vintage series, along with oil paintings, in my grouping for the upcoming four-artist show at Albert Shahinian Fine Art in Rhinebeck, NY, their yearly Luminous Landscape exhibition. The show opens on September 29, 5-8pm.

 

 

Cloud over Green Valley, monotype, 8″x10″.

 

Dusk Drive in 12, oil on board in a vintage muffin pan, 18″x11″.

 

Reflected Sun, 32″x48″.

 

_______________________________________________________

 

Several of my summer sales:

 

Gleaming, 12″x24″, sold by the Julie Heller Gallery, Provincetown, MA.

 

Swirling Winter Sky, 20″x24″, sold by the Woodstock School of Art.

 

One of my favorite pieces from the past decade, Perceived Acuity pleases me for its simplicity, movement, elegant shapes, and unusual color:

“Perceived Acuity”, 18″x52″, sold by the Louisa Gould Gallery, Vineyard Haven, MV.

 

Serene Sengie, 44″x68″, sold by the Louisa Gould Gallery.

__________________________________________________

Link to in-studio available works in oil and on paper:

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

https://scheeleart.wordpress.com/2016/11/03/available-workstudioworks-on-paper/

__________________________________________________

Coming right up, my teaching week in Provincetown, Sept. 17th for Color Mixing and 18-20th for the Landscape Painting Intensive. If you are feeling inspired and spontaneous, come and join us!

 

Provincetown, 20″X30″, at the Julie Heller Gallery, Provincetown.

 

Also upcoming: another residency on Nantucket in November. My focus there and in my studio will be on Atlas/Forms of Water, from the sky to the land to the ocean, and everywhere in between.

 

Affirmation in Blues, 36″x72″ overall, at Louisa Gould Gallery, MV.

 

 


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/

___  _______________________  ___

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.

___  _______________________  ___

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!


2017 Late Spring News and Upcoming Events

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.

Mountain Sky/Blues, 24″x48″, newest piece, of the Catskills from the river.

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.

 

Red River Shore, 20″x30″.

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:

 

Work table with HV map in progress; site map for the Atlas/Island (Nantucket) grouping in the background.

 

Trees with Mists, 18″x48″.

 

Above and below are a few of the Hudson River & Valley/Catskills paintings that are part of the new sequence:

 

2 Shores, 12″x12″.

 

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:

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

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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.

 

Summer Inlet, 48″x24″, 2017.

 

Sengekontacket Greens, 12″x12″, 2017.

 

Katama Field, 12″x12″, 2017.

 

Summer Wave, 12″x12″, 2017.

 

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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):

https://scheeleart.wordpress.com/2017/03/18/artists-residency-on-nantucketnew-atlas-project/

The five monotypes hanging below are a the results of printing sessions in both Woodstock and Nantucket.

 

 

And a few others:

 

Monotype/Green Marsh, 8″x10″.

 

Monotype/White Field #2, monotype and pastel, 8″x10″.

 

Monotype/Wave#5, 8″x10″.

See more of my prints and pastels here:

https://scheeleart.wordpress.com/2016/11/03/available-workstudioworks-on-paper/

 

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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!).

 

 

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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:

http://www.poughkeepsiejournal.com/story/entertainment/2017/03/22/landscapes-art-artists/99454762/

 

March reception in my studio.

Several of the pieces that went to new homes from our show “Gallery/Studio: A Symbiosis”:

 

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

 

“White Trail”, 40″x30″.

 

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

 

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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:

June 17-19, Sat.-Mon, 9-4pm, Form and Content: A Landscape Painting Intensive
Oct.28-30, Sat.-Mon. 9-4pm, Color Mixing for Landscape Painters.
The Nantucket Arts Association July 18-20,Constructing/Deconstructing the Landscape;  and Mentoring for Artists, July 21.
Provincetown Artist Association and Museum, Sept. 11-14, Mon.-Thurs. 9:30-1:30, Abstraction and Narrative in the Landscape.

 

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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.

 

Turquoise Sky/White Cloud, 20″x20″.

 

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?

 

Cotue of the Scalloped Edges, 6″x10.5″.


Artist’s Residency on Nantucket/New Atlas Project

As soon as my  residency at the Nantucket Artists Association was scheduled early last fall I launched into planning. I decided to work with exclusively Nantucket imagery while there, and this dovetailed with a larger plan to spread out into a fresh creative endeavor starting in 2017.
And so, I began developing a new rubric for my work that frames groupings of it thematically, calling it my Atlas Project.
Knowing that I would have access to the print studio at the AAN, and after having been reintroduced to printmaking by program coordinator and printmaker Mary Emery while on Nantucket teaching the summer before, I also began exploring printmaking in earnest, studying with Kate McGloughlin at the Woodstock School of Art.
 My new Atlas Project, just several months in, engages in a process of revealing the web of meaning around and between the individual pieces that I create. The matrix that connects all of my landscape imagery is saturated with memory, both personal and collective. To show these connections, I am working with individual but overlapping thematic groupings. The biggest challenge is to then create a legend, or site map, to the bodies of work.

The first sequence that I approached, before going to Nantucket, was Atlas/Forms of Water/Snow. Using drawing, printmaking, pasteling, writing, and mixed-media along with oil paintings, I am exploring with these sequences the interrelationships of process, history, and memory, as revealed not only by air, land, and water but also by my materials and personal history as an artist, family and community member, and frequent inhabitant of the outdoor world.

In late February, all set up in my studio on Nantucket,  I began work on Atlas/Island with painting in oil so that, in my process of layering wet over dry, I would have time to finish and safely bring home the pieces accomplished.


“Coatue of the Scalloped Edges”, oil on board in vintage drawer, 6″x10.5″ overall.

For some of these locales, I wrote a bit about them and later included these observations in the Site Map. Coatue is a stunning landform, and the perfect image for my box with the circular pull. These unusual scalloped edges of sand have been held in place for centuries. In perfect equalibrium, prevailing winds create waves that push sand out to the points, while currents move it in the opposite direction, depositing it on the bends.

“Moors with Mists”, oil on board in vintage tray, 5.5″x24″ overall.

The pieces on board in vintage boxes were not framed that way but rather painted to go inside of those particular boxes, adjusting color and feel of imagery to meld with the tray. I liked the lovely old boxes for this project as a nod to Nantucket’s intricate and unique history.

“Night Harbor”, oil on board in vintage tray, 5.5″x24″ overall.

With Night Harbor my observations turn to a personal memory of the sweet evening last summer when I experienced the view depicted. During the day, while I was teaching, my husband was catching fish. We cooked the fish at our friend’s modest house that looks out on the harbor from the outskirts of town,  the Creeks to our right. The three of us sat watching the fog roll in and out of the harbor for hours, barely speaking, until well after nightfall. Night Harbor is an image of the view off to the left of the lights on the wharves and Brandt Point.

 

“Dunes with Snow”, (Steps Beach), oil on board in vintage tray, 5.5″x24″, overall.

Steps Beach appears a few times in this body of work. I researched and wrote a bit about interdune ecology, described below after the second dune painting, a summer image in greens.

I did one piece using my Affinity format, since this image called for it both in color and in the strong horizontal and diagonal compositional elements.

Affinity/Madaket Dusk, oil on linen with frayed edges on primed board overlaid with graphite gridding, 11″x14″.

This pastel is a view from the ferry of Tuckenuck, the island just visible on the right, the sky a late-day winter sunset:

“Gleam over Tuckernuck”, 7″x11″, pastel on paper.

 

After several days at work on imagery with grey/blues or warmer color, I had a yen for some greens, so I did these three pieces, using reference collected last summer while I was there teaching.

 

“House on Madaket Marsh”, oil on linen, 11″x14″.

Madaket also appears a few times, as I am endlessly drawn to its varied topography.  I include the famous story of the formation of Esther Island during hurricane Esther in 1961, and it’s reattachment and detachment in relation to Smith’s Point over the years since then.

SummerDune

“Summer Dunes”, (Steps Beach entrance) oil on linen, 8″x20″.

The steep dunes on the north side of the island can be safely traipsed through and enjoyed going into Steps Beach. The scene above, a view off to the left between the two large dunes above the beach, is a thriving interdune habitat with just about every shade of green within. The mists tamp the colors down just enough to appeal to my subtle color sensibility.

I knew that dune grasses hold dunes and that marsh grasses both hold ground from eroding seas and clean water passing through; but I didn’t really understood how. Thanks mostly to several articles that I read from Yesterday’s Island by Dr. Sarah Oktay, formerly of the Nantucket Field Station, I now get it and am suitably impressed.

Dune grasses not only anchor sand that is there, they also trap windborn sand and hold it, building dune height. Then, due to their extensive system of underground stems, they are able to grow right up on top of themselves to trap more sand, and so on. Further, as the grasses below decay, soil begins to be built and other plants and small deciduous shrubs can colonize the dune. As these seasonally drop leaves that compost, more soil is built and plants with larger roots can attain purchase and now you have a healthy, diverse, interdune system that protects the shore from erosion during winter storms.

 

“Quaise Marsh”, oil on linen, 11″x14″.

Now, for marsh grasses, perhaps my most frequently painted subject in the past several decades. These grasses trap sediment and organic matter with every tide—cleansing the water—creating a kind of peat at their roots. They, too, can then grow up on top of themselves and this peat and gain height to keep pace with sea level rise,  protecting the shoreline from erosion. That is, they have been able to so far. It is unlikely that they will continue to succeed with the potential six foot rise predicted, at this juncture, by 2100.

Back to the residency. Finally in the print studio, I dialed in on which sorts of my landscape imagery work well in a medium that has a very lively feel. I had previously noted that the soft-focus of my pantings does not translate as well as my emphasis on very strong, minimalist compositions with bold shapes intersecting the picture plane, so I headed straight into this terrain. As before, the first two or three prints that I pull of a given subject matter are not wholly successful, so each print is very much a process of trial and error. This is quite different from my painting process, where I can and do always persist and tweak anything I am not completely happy with.

The imagery for the first two monotypes below came out of walks I did on Nantucket during my first week of the residency, at the Creeks, a lovely marshy area on the harbor near town; and the Moors. The third is an image of Madaket from last summer that I both painted and explored in monotype.

MWinter Creek, 10″x8″, monotype.

 

MMoors, 8″x10″, monotype.

 

MMarsh with House, 8″x10″, monotype.

I also worked on small monotype thumbnails, as well as a linocut map of Nantucket, to incorporate into my Site Map, printing one thumbnail each for the oil paintings that I did for this grouping of Atlas/Island. The map is the new element for me, still very much a work-in-progress, that knits each thematic sequence of paintings, drawings, and prints together, and gives info about the work and the locales. The below is the second prototype–the first was for Atlas/Forms of Water/Snow—and most definitely not the final template. The idea is to map both the subject matter I am working from and the body of work that results.

Site Map with linoprint map and map fragments of Nantucket; monotype thumbnails; tracings; writing and letterpress. The blue areas on the map show parts of the island that will be underwater                                                                 when sea levels rise 3 meters.

 

I am now, at home, hard at work on a third prototype of the site map, trying to integrate the thumbnails, maps, and writing in a more visually lush way. I’ll add it to the post when I am finished.

 To mount a cohesive show of the Nantucket sequence, or any other, of Atlas Project I will want to include some medium-sized and large oil paintings, something I couldn’t do in a short period of time and when all of my supplies and then finished work had to be carried back and forth by foot on the ferry.
I have been fairly obsessive about my work for many years. This very intense two weeks, however, brought my focus to a new high, working morning, noon and night. I broke it up with walks to see the island and my yoga practice…and that was it. I came up with solutions to things I was pondering about the Site Map in the middle of the night—and otherwise slept quite well— and arranged my waking work hours to feel a focused fullness; a kind of (mostly) calm momentum.

In my work I have always seesawed back and forth between the universal and the particular. With a new framework for the work I can continue to do this with individual pieces, while exploring an expanded conversation. Land and and water use has been political since the beginning of our time on earth. As these issues continue to become increasingly critical, I have been catapulted —and also eased, nestled— into creating the Atlas Project, a love-letter to our planet.

 I am grateful to the staff at the AAN, especially Mary Emery, for providing this opportunity and for all of their help. And deepest thanks to my husband Jack, who facilitated it all.

“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)

 


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.
calmcrossing

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.
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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.
letterfromjoan
“…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″.

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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.
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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:

https://scheeleart.wordpress.com/2016/11/03/available-workstudioworks-on-paper/

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 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:

http://www.gallery901.org/christie-scheele/

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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:

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

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.

http://drive28.com/

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


Available Work/Studio/Works on Paper

Almost all of the unframed work included in this data-base is now priced $200-$500. Inquire for details—-only the framed pieces are priced, so check in  with me on the others.. (Through 2020.)

These are works on paper, many of them unframed, currently in my studio. Often works on paper are an option that is more affordable than oil paintings. Several of my galleries and consultants also have a selection of framed or unframed pastels and monotypes, most notably Albert Shahinian Fine Art in Rhinebeck, NY; JSO ART Associates in Westport CT, and Gallery Jupiter in Little Silver, NJ.

Pastels:

Summer Haze, pastel on paper, 12″x18″.

Blue/Green Range, 10″x16″.

Warm Fields, 16″x25″, available through the Louisa Gould Gallery.

Resting Cloudbank, 8″x9″, (framed with mat and black moulding), $700.

River Sunset, 11″x18″, (framed with mat and black molding), $1,000.

Red Sky with Gleam, 5″x12″, $600 (Matted and framed with cherry molding).

Trailing Fields, 4″x24″.

Summer Farm Fields,

Summer Farm Fields, 6″x12″, available through he Louisa Gould Gallery.

Magic Hour in the Mountains, 8″x10″, framed.

Red Field/White Sky, 10″x26″, available through the Louisa Gould Gallery.

Soft Greens,

Soft Greens, 5″x14″.

GleamonGreySea

Gleam on Grey Sea, 14″x14″.

Triptych in Red/Black, 3 panels of

Triptych in Red/Black, 3 panels of 7″x13″.

River Lighthouse, 14″x21″.

Rusty Crane, 14″x21″.

Red Sun, 12"X18", $1,400 (uf).

Red Sun, 11″X18″.

“Gleam over Island”,  7″x11″. Available framed through Gallery Jupiter.

MOuntain Fall

Mountain Fall, 6″x16″.

Mountain Trio, 6.5x13.5.

Mountain Trio, 6.5×13.5.

Moody Mountain Sky, 12"X13", $1,200 (uf).

Moody Mountain Sky, 12″X13″.

Warm Light, 9"X20", $1,200 (uf).

Warm Light, 9″X20″.

Mists over Fields, 5"x8.5".

Mists over Fields, 5″x8.5″.

Green Hills, 15"X18".

Green Hills, 15″X18″.

4 Trees, pastel on paper, 13″x21″.

Oil on paper:

“Study/Yellow Band”, 5″x5″, oil on primed paper, $550 framed.

Study/Still Mists, 4.5″x13.5″.

Study/Ptown Marsh, 3″x9″, $550 framed.

Study/Skyline

Ocean Blues, 6″x12″, available through the Louisa Gould Gallery.

Study/View from Little Mountain, 6.5″x8″.

Study/Red Fields, 5″x10″.

Mixed Media/Collage (Of paper and other things, on board):

Atlas/Cape Cod, 15″x30″

Hudson Canyon Collage, 12″x12″.

Watershed Map, 12″x12″.

CSoThere4x12

So There, 4″x12″.

Actively Seeking, 7″x5″.

Stand Alone, 5″x5″.

Growing Tall, 5″x5″.

CPAth7x5

Path, 7×5.

Cloud, 6"x6".

Cloud, 6″x6″.

Wetlands, 6"x6".

Wetlands, 6″x6″.

Waterways, 6"x4".

Waterways, 6″x4″.

Waterways/Arial, 5"x5".

Waterways/Arial, 5″x5″.

Linocuts

Riverbed Map #1, 6″x12″, $125.

Riverbed Map #3, 6″x12″, $125.

Rverbed Map #2, linocut print on rice paper, 6″x12″, $125.

Four Nantucket Maps.

Nantucket Map #2, 12.5″x18″, hand-colored, $400.

Monotypes:

Five prints.

Waterfall #5, 14″x7.5″.

Waterfall #3.

Overlook with River, 8″x10″.

M/White Wedge, 10″x8″, 2018.

M/White Wedge #3, 10″x8″, 2018.

Wave Triptych, 3 panels of 8″x10″/ea.

Wave, lg. 10″x16″.

The View from There, 10″x16″, 2018, $1,400 unframed.

M/Wave #6, 8″x10″, 2018.

M/Dark Road, monotype and pastel.

M/Dark Road, monotype and pastel, 2016.

Sunset prints as they came out, the AAN, 2017.

M/Mountain Travel.

M/Mountain Travel, 2016.

Moors #3, 8″x10″.

Moors #1, 8″x10″.

M/Waterspouts with Walking Rain.

M/Waterspouts with Walking Rain, 8″x10″, 2016.

Creeks # 2, 10″x8″. through LGG.

M/Creeks#4, 10″x8″, 2017, through LGG.

M/Mountain Stream.

M/Mountain Stream, 2016, through LGG.

M/Marsh with House, 8″x10″, 2017, through LGG.

M/Wave1

M/Wave, 8″x10″, 2016.

mfallmarsh1

M/FallMarsh1, 8″x10″, 2017, through LGG.

mfallmarsh3

M/FallMarsh3, 8″x10″, 2017.

Fall Grasses with Fogbank, 8″x10″, 2018, through LGG.

The three below show the pressed edge and different colored papers. Prints are normally framed showing the distinctive edge, and a little float of the paper, where they are signed:

Evening Travel #2, 8″x10″.

Evening Travel, 8″x10″.

Evening Travel #3, 8″x10″.

Three framed prints, 8″x10″/ea.:

And how a collector framed his:


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.


Available Work/Studio/Oil on linen and board

This post, designed primarily for the galleries and consultants that I work with,  serves as a data-base for oil-on-linen 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.

The grouping below was added to the post in October, 2020. It is the work that had been (mostly in storage) at my Provincetown gallery and which I now prefer to have in my studio, until it goes out to another gallery or is sold. I am very excited to  have this work back, and I hope you enjoy perusing!

Forms of Discussion, 12″x36″, $2,800. 

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Provincetown, 20″X30″, $3,200. (Sold)

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Commanding Angles, 12″x24″, $2,200.

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Sunset Reflected, 12″x36″., $2,800

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Fall Marsh, 6″x12″, $900. (Sold)

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Approach at Day’s End, 12″x36″, $2,800. 

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Boats @ Rest, 12″X36″, $2,800.

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Summer Sunset/Tidal Creek, 36″x12″, $2,800.

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Resting Grens, 12″x12″, $1,200. (Sold.)

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: scheeleart@gmail.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/

Castel, 18″x52″, $5,000.

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Earth & Sky, 24″30″, $3,600.

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Shore with Still Mists, 18″x52″, $5,000. (Sold.)

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ShorelinewithBLues30x40

Shoreline with Blues, 30″x40″, $5,000

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Tree with Mists, 18″x48″, $4,600.

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Interwoven Stories, 30″x60″, $7,500.

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Layered Reds, 30″x40″, $5,000.

Additional work can be found at my galleries: Albert Shahinian Fine Art in Rhinebeck, NY; Gallery Jupiter in Little Silver, NJ; 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.

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Winter Sky, 24″x30″, $3,600.

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Moving Sky, 24″x48″, $5,000.

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Sunset in 5, five panels of 8″x8″/ea., $3,400.

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Summer Mists, 40″x40″, $6,500.

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Turquoise Light, 30″x40″, $5,000.

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Meandering, 24″x36″, $4,000.

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Contrasting Sunset, 18″x52″, $4,800.

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Downriver, 24″x24″, $3,200.

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From the Lighthouse, 20″x20″, $2,200.

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River with Lighthouse, 12″x36″, $2,600.

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Sunset Roofline, 24"x23".

Sunset Roofline, 24″x30″, $3,600.

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Affinity/Flatland's Drive, 18"x18", $2,000.

Affinity/Flatland’s Drive, 18″x18″, $1,800.

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Embracing Pink, oil on board, 3 panels of 8″x8″/8″x10″/8″x8″, $1,800.

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Marsh at Dusk, 14"x16",

Marsh at Dusk, 14″x16″, $1,500.

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Affinity/Return at Dusk, 12"x24".

Affinity/Return at Dusk, 12″x24″, $2,000.

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Light into Dark, 12″X24″, $2,000.

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Layered Clouds, 20″x16″, $2,000.

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“Smokey Sky”, oil on a vintage slate.13.5×9,5, $1,000.

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Affinity/Dual Twister, 10"x10", $900.

Affinity/Dual Twister, 10″x10″, $900.

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Moors with Mists, 6″x24″, $1,400.

GleamingSkyoverProvincetown

Gleaming Sky over Provincetown 11″x14″, $1,300.

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River Gleam, 12″X20″, $1,600.

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SummerCloudbank

Summer Cloudbank, 10″x30″, $2,200.

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


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.