Moody, Minimalist Landscape Painting

Posts tagged “Martha’s Vineyard paintings

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!

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Available Work/Studio/Works on Paper

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, most notably Albert Shahinian Fine Art in Rhinebeck, NY; JSO ART Associates in Westport CT, and Megan Peter Fine Art in Redbank, NJ.

Pastels:

 

Harbor with Soft Light, 13″x20″.

 

SeptDawn

September Dawn, 10″x28″, framed.

 

Turquoise Sky/White Cloud, 20"x20".

Turquoise Sky/White Cloud, 20″x20″.

 

Gleam on Turquoise Sky,

Gleam on Turquoise Sky, 6.5″x30″ overall.

 

Saltmarsh in Greens, 10"X20"

Saltmarsh in Greens, 10″X16″.

 

reachingcloud

Reaching Cloud, 5″x18″.

 

Summer Farm Fields,

Summer Farm Fields, 6″x12″.

 

Hillside in Oranges,

Hillside in Oranges, 6.5″x16″.

 

gleamongreysea

Gleam over Grey Sea, 14″x14″.

 

Shore with Greens,

Shore with Greens, 11″x18″.

 

Soft Greens,

Soft Greens, 5″x14″.

 

Triptych in Red/Black, 3 panels of

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

 

redsandbar

Red Sandbar, 19″x26″.

 

 

Rusty Crane,

Rusty Crane, 15″x21″.

 

River Lighthouse,

River Lighthouse, 15″x21″.

 

 

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

Red Sun, 11″X18″.

 

“Gleam over Tuckernuck”,  7″x11″.

 

MOuntain Fall

M0untain Fall, 6″x16″.

 

Mountain Trio, 6.5x13.5.

Mountain Trio, 6.5×13.5.

 

 

Bright Fields, 22"x30".

Bright Fields, 22″x30″.

 

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″.

 

Oil on paper:

Green Waves, 5"x28.5".

Green Waves, 5″x28.5″. (See the post below for a description of the genesis of this piece and the larger version in oil.)

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

 

 

Lavender Mists, oil on paper on board.

Lavender Mists, oil on paper on board, 8.5’x40″.

 

To see the blog post on my smallest oil-on-paper pieces showing currently available works along with a discussion of their genesis, click on the link below:

https://scheeleart.wordpress.com/2015/10/22/small-studies-in-oil-on-primed-paper/

 

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

 

AtlasHVCollage

Atlas/Hudson River Collage, 18″x14″.

 

Cloud, 6"x6".

Cloud, 6″x6″.

 

Wetlands, 6"x6".

Wetlands, 6″x6″.

 

mmcity

City, 6″x6″.

 

mmpath

Path, 6″x6″.

 

mmtree

Trees, 6″x6″.

 

Mixed Media/Collage/Toolbox, 4 panels of 5"x5"/ea.

Mixed Media/Collage/Toolbox, 4 panels of 5″x5″/ea.

 

Waterways, 6"x4".

Waterways, 6″x4″.

 

Waterways/Arial, 5"x5".

Waterways/Arial, 5″x5″.

 

Mixed Media/Vintage Box, 4 panels of 3.5"x2.5".

Mixed Media/Vintage Box, 4 panels of 3.5″x2.5″.

 

Monotypes (these are all 8″x10″ or 10″x8″):

Five prints

 

 

MCreeks#2

 

MCreeks#3

 

M/Dark Road, monotype and pastel.

M/Dark Road, monotype and pastel.

 

M/Mountain Travel.

M/Mountain Travel.

 

M/Dawn Road.                                                       M/Dawn Road, monotype with touch of pastel.

 

 

 

 

M/Waterspouts with Walking Rain.

M/Waterspouts with Walking Rain.

 

M/Mountain Stream.

M/Mountain Stream.

 

 

MGreen Marsh

 

Inlet

M/Inlet

 

M/Wave1

M/Wave1

 

 

mwave3

MWave 3

 

 

MWhite Field #2, monotype and pastel.

 

mfallmarsh1

MFallMarsh1

 

 

mfallmarsh3

MFallMarsh3

 

 

MFallField#1

MFallHillside#1

 

MFallHillside#2

MFallHillside#2

 

 

 


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.

What’s been Going on/Is Coming Up, Spring 2015

After a hard and busy winter I am so very happy to be in transition to the warmer season ahead. The work in my studio and recent events gave me a wonderful distraction from the relentless weather in the Northeast, but all logistics and movement are so much easier and more enjoyable with warm sunshine, no snow or ice, and planning that can be relied upon.

My solo show at Gold Gallery in Boston remains up through April 25th.

Everyone has heard how massively hit Boston was with snow this past winter, and the reports were no exaggeration. We had planned a February show, agreeing that since they had February traffic and business, we should go for it.

Sometimes I just love the expression: “Man plans. God laughs.”

After a few postponements, we did open with a reception on March 13th. It was a lovely time for me, with many in-depth questions, especially about my Affinity Series and the multiple-panel pieces.

Gold Gallery

Gold Gallery

The gallery brought my work to the AD 20/21 Fair down the street from them a few weeks later. I love the way the work pops on the grey walls.

Work at AD 20/21

Work at AD 20/21 with Gold Gallery

I wrote a blog post about this multiple-panel piece in the show as an example of how a new idea evolves. This piece has quite a story, involving photos of my son Tony; Maya Lin; Storm King; and many sketches and studies.

Green Waves, oil on canvas, 14"X82" framed.

“Green Waves”, oil on canvas, 14″X82″ framed.

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

Edgewater Gallery of Middlebury, Vermont brought my work to the Affordable Art Fair NYC at the end of March, so I decided to attend. I hadn’t been in several years, and found the whole fair to be well-organized and accessible, a kind of bubble of positive energy. This year was very successful, not surprising with with the quality and variety of work and the good vibe.

I was meeting up with friends and collectors at different intervals for three days running, so I spent quite a bit of time there. The first day I decided to get further involved by collecting information on some of my favorite artists being exhibited at the fair in order to write a blog post about it. This is a review of the work of the five artists that I selected:

https://scheeleart.wordpress.com/2015/04/12/a-review-of-the-affordable-art-fair-in-nyc/

A few pieces of mine

A few pieces of mine at the Edgewater booth at the AAF.

I got a first-hand look at how hard the galleriests at these events work as I returned often to the Edgewater booth,  enjoying the chance to get to know Kate, Rachel, and Zoe a little better in between their many conversations with fair-goers and invoicing and wrapping sold work. The days were up to 12 hours of standing and smiling and chatting, and they had a great attitude throughout.

I have had several commissions in the first months of this year.  Although I am a tonalist by instinct, over the years I have found that I like to meander this way and that with my palette. These five pieces are about as bright as I can imagine going, but I am pleased to see how “me” they look, even with more saturated color.

Installation shot of four pastels commissioned through Megan p eter Fine Art.

Installation shot of four pastels commissioned through Megan 
Peter Fine Art.

"Saltmarsh in August", headed soon to it's hone on Martha's Vineyard, commissioned through the Louisa Gould Gallery.

“Saltmarsh in August”, headed soon to its home on Martha’s Vineyard, commissioned through the Louisa Gould Gallery.

I recently enjoyed a visit at my friend Marie Vickerilla’s studio. She had new work finished for her upcoming show in New Jersey that I was determined to see before it left her studio.

Marie's studio

Marie’s studio

Our conversation about this body of work had a lot to do with mixed associations (see my discussion of this in the blog post reviewing the Affordable Art Fair) and complexities of surface. I have always loved Marie’s more minimalist work, and found this new series to be exciting in a different way–lost and found edges and layers; unusual color juxtapositions; and stories begun one place and and finished in another.

From her statement about this series: “Not until after the work is complete do I realize from where the painting has come. From shifting lines holding up a shape, lines and bars moving from place to place, a kind of organization emerges from the randomness, and I find a correlation to some slow-moving event in life.”

Actually, I’ll just say it, since I have before in conversation: I think Marie is a genius. It’s not always apparent to me where and how her decisions are made, but they have amazing clarity, subtlety, and depth—“unique voice” is an understatement.

Inviation for MArie Vickerillas show.

Upcoming Shows:

May 9th: Chace-Randall Gallery (upstairs space), Andes, NY, 10th Anniversary show, 5 – 7 p.m.

A solo at Albert Shahinian Fine Art in Rhinebeck, NY, July 16-Labor Day, reception July 25.

The Shandaken Studio Tour, July 18-19.

A solo or duo at Louisa Gould in Vineyard Haven, MA, August 13-26:

A few new pieces:

"Perceived Acuity", 18"x52".

“Perceived Acuity”, 18″x52″.

"Blue/GreenSea", 3 panels of 12"x12"; 12"x16"; & 12"x12"

“Blue/GreenSea”, 3 panels of 12″x12″; 12″x16″; & 12″x12″

A few of my recently sold pieces:

"Skyline with Lifting Rain", 20"X20", oil on linen.

“Skyline with Lifting Rain”, 20″X20″, Edgewater Gallery at the Affordable Art Fair.

5 Trees

“5 Trees”, 20″x60″, Albert Shahinian Fine Art.

Turqiouse Light

“Turquoise Light”, 30″x30″, Gold Gallery.

My February workshop “Constructing/Deconstructing the Landscape” at the Woodstock School of Art managed to come off, despite terrible weather, and succeeded in what I had set out to do. A new workshop, it involved an unprecedented amount of planning for me, as I was determined to develop exercises that would lead my students into a deeper analysis of composition and color, and a more conscious understanding how the elements form the whole.

The landscape itself is so seductive that it can actually get in the way of crafting a good painting, so much so that often I see artists plateau in their skill-building, finding it hard to advance to the next level. This workshop was designed for those artists, though I think it also works well for beginners as a step-by-step.

Day #2, working with color (those touchy greens!)

Day #2, working with color (those touchy greens!)

I was concerned that the artists in this workshop would feel constrained by so much structure, but they all surrendered to the process and felt that they learned way more than in a workshop with more open painting time. The exercises are also really fun—I did them myself first to make sure of that.

At work on a frigid February day.

At work on a frigid February day.

I will be teaching the same workshop in Provincetown in September, as well as these others coming up in 2015:

Woodstock School of Art, “Landscape in Large Scale” , June 20-23:

http://www.woodstockschoolofart.org/scheele_landscape_in_large_scale2015.html

Artists Association of Nantucket, “Landscape and Mood”, July 13-15:

https://apm.activecommunities.com/nantucketarts/Activity_Search/landscape-and-mood-with-christie-scheele/300

Provincetown Artists Association and Museum, “Constructing/Deconstructing the Landscape”, September 14th-17th.

https://www.paam.org/workshops/summer-2015/?course_detail=constructingdeconstructing-the-landscape&start_date=9-14-15

Woodstock School of Art, “Interpreting the Landscape in Oil and Pastel”, October 17-19

http://www.woodstockschoolofart.org/scheele_interpreting_the_landscape_in_oil_and_pastel2015.html

I hope to see many friends and followers this spring and summer at a reception, a workshop, or my studio. Many of you have been students, collectors, and friends, in one order or another, and I love to see you show up.


December Newsletter 2014

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

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

"Rolling Cloud", 44"x68".

“Rolling Cloud”, 44″x68″.

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

"Trove", 30"X48" overall.

“Trove”, 30″X48″ overall.

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

Studies for "Green Waves".

Studies for “Green Waves”.

 

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

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

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

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

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

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

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

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

 

44"x68".

44″x68″.

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

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

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

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

Below, a few recent pieces.

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

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

 

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

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

 

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

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

 

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

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

 

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

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

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

 

Some work that has sold recently through my galleries.

 

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

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

 

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

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

 

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

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

 

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

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

 

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

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

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

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

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

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

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

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

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

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

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

Happy holidays, happy 2015!


Autumn 2013 Newsletter

“Art is not meat. It does not go bad”,  to quote Albert Shahinian.

I was thinking about that comment (again!) while assembling this post because I noticed that some recent sales have been of paintings that are not at all new.

So, why does a much-admired piece hang around, sometimes for years?

Usually the answer to that is that they have had many near-misses, and that something has come up at the last minute that has nixed the sale…each time. Bearing in mind that there is always a ratio of success to failure in every business, often in this one there are more almost-sales than sales. Bringing an object into the home that is not functional or strictly decorative, and that is also not cheap is, rightly, a big decision for potential collectors.

So, to put it another way, if you don’t have lots of nibbles you are unlikely to have lots of sales.

If there are no near-sales on a given piece it could mean that the painting doesn’t have wide appeal (which also doesn’t mean that it isn’t a good piece or that it won’t sell when the right person finds it) or that it is in the wrong gallery.  But all of this is another story.

Here are two pieces that are a bit older and had been nibbled on many times before they recently found their wall in a new home. I will use them as examples of what can happen along the way.

Winter Brilliance just came under discussion in a recent blog post:

https://scheeleart.wordpress.com/2013/09/12/bearing-bad-news-the-emotional-content/

I will quote from that, but before all of the below happened this past year, this piece also was sold and unsold in a day. It went out on approval for three days from my (now closed) gallery in Redbank, NJ, to an NYC apartment. On the second day they called and said that they loved it and were keeping it. On the third day they called and said that they were being transferred by the husband’s job to San Francisco, where a fully furnished and decorated house awaited them, so they had to return the piece. Since this was all within the agreed upon three day approval period, back it came.

Later…

 “…the piece below, recently sold, had quite a busy time of it this year before reaching its new home. In March, it went to Chicago, where it was selected for viewing in a home. Much as they would have liked it, the piece didn’t fit the budget at that time, so a smaller piece was settled upon. Then, it was vetted for a possible swap with one of my dealers for a coveted Milton Avery print. But before I could bring it to her for her to decide, a private dealer asked me to hold it back for a likely sale through a designer. Months later and no word, I let it back out again to my gallery in Rhinebeck, and from there it went out to a home (through an architect, this time) where it looked as if I had painted it for the room in question.”

Winter Brilliance, 40"x50".

Winter Brilliance, 40″x50″. 2004.

River in 5 received a great deal of attention when I first stated showing it 2006. Not so exciting a history as Winter Brilliance, but I kept hearing from gallereists that this person or that couple had it under consideration. That was true also when it arrived at Albert Shahinian Fine art, with one collector of mine admiring both the soft monochromatic palette and the way it evoked the views he enjoyed while kayaking across the Hudson River from this spot.

Then…very quiet. Other work coming and going, but no nibbles on this piece for at least a few years…until last summer, when all at once two collectors spotted it in the gallery or on my website and were planning on buying it the next time they made it to Rhinebeck. First couple fell in love with a different piece and couldn’t manage both, and the second collector was still planning on acquiring the piece when it went out to the same apartment as Winter Brilliance and stayed there.

River in 5, 5 panels of 10"x10"/ea.
River in 5, 5 panels of 10″x10″/ea., 2006.

Below, a few sales of recent pieces.

Affinity/Narrow Road, 48"x12", sold by Gold Gallery.

Affinity/Narrow Road, 48″x12″, sold by Gold Gallery.

Mutable Mists, 20"x20", sold by Chace-Randall Gallery.

Mutable Mists, 20″x20″, sold by Chace-Randall Gallery.

Wave, 24"x48", sold by Van Ward Gallery.

Wave, 24″x48″, sold by Van Ward Gallery.

Mists off the River, 12"X36", $2,600. (CRG)

Mists off the River, 12″X36″, 2013,  sold by Chace-Randall Gallery.

A few newly finished pieces:

Triptych in Reds

Triptych in Reds, 3 panels of 24″x24″/ea., just packed off to Gold Gallery in Boston.

Moving Light, oil on vintage blackboard, 9.5"x5.5".

Moving Light, oil on vintage blackboard, 9.5″x5.5″.

"Blue Above", 12"X36".

“Blue Above”, 12″X36″.

Soft Summer Sky, 30"x36".

Soft Summer Sky, 30″x36″.

I have recently introduced a series of small oil-on-paper compositional/color studies in my painting workshops. I did this preliminary series beforehand, and now have others following—a wonderful way to work out placement of elements, using your painterly hand (instead of photoshop, which is a great tool but doesn’t help with the aforementioned!). I will be offering these small pieces for sale from my studio, tidbits that can be framed/hung individually or as a grouping, and are a great way to come up with an original—for yourself or as a gift—for the price of a print.

Small oil-on-parer studies, 6"x6" or 5"x7" or 3"x8".

Small oil-on-paper studies, 6″x6″ or 5″x7″ or 3″x8″.

My recent workshop at the PAAM in Provincetown, with a wonderful group:

Color-mixing from primaries.

Color-mixing from primaries. (Photo credit Carol Duke.)

Last day.

Last day. (Photo credit Carol Duke.)

 

See my blog post on how the workshop runs, with emphasis on composition:

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

In other news:

I am sad to announce the closing of my gallery on Martha’s Vineyard, Dragonfly, but happy for Don and Susan as they move onto the next phase for them (more time for artmaking!).

Also happy to have joined the Louisa Gould Gallery, located the next town over in Vineyard Haven. I look forward to a long and successful relationship with my new MV gallery! (And a big thank-you to Don and Susan for connecting us.)

Upcoming:

Boston International Art Fair, with Gold Gallery, Nov. 21-24

2014:

“LINE…”, Butters Gallery, Portland, OR, curated by Melinda Stickney-Gibson, Feb. 6-March 1

Solo show at Chace-Randall Gallery, Andes, NY, May21-July 4th.

Duo show at Julie Heller East, Provincetown, MA, summer or fall, TBA

Workshops at the Woodstock School of Art: Feb. 15-17 & late June: PAAM, Sept., dates TBA

2015:

Solo show at Gold Gallery in Boston, early March.


Summer Preview

Summer Trees, 16"X20", $1,600 (uf). (JSO)

Summer Trees, 16″X20″.

The pleasures of late spring and early summer as they affect my studio experience and the tasks related to showing and selling my work are too many to list. Must-mentions: painting with windows and door open to the yard and the stream behind my studio; drying my paintings in the sun in my yard so that I can resume work on a second layer within just a day; doing my daily work on the computer sitting on my screened-in back porch with the sound of the stream as accompaniment; and driving my work around for deliveries surrounded by the visual joy of many-colored lilacs, poppies creating a splash of brilliant orange next to purple dame’s rocket, and amazing, shifting, spring-soft greens.

Ellsworth Kelly at Thompson Giroux Gallery

I had the pleasure of attending an exhibition and 90th birthday party for Ellsworth Kelly on May 31st, the day of his actual birthday, at my gallery in Chatham, NY,  Thompson Giroux. Chatham is familiar turf for Ellsworth– the dinner  was thrown in the same space that he rented for his first upstate studio back in the early ’70s, and is of course the source for the title of his “Chatham Series”.

Ellsworth

It was lovely to see again the botanical prints that we studied and admired back when I was in art school as iconic line drawings from life—spare, fluid, and subtly quirky.

EKShowTGG

I was most interested to read that Ellsworth based his abstract paintings on “observed reality”, a departure from the ethic of the day. Comparing this with the work of the abstract artists that I am closest to, Jenny Nelson, Melinda Stickney-Gibson and Marie Vickerilla,, whose imagery evolves from within the process of developing each canvas (and whose shows I have also recently seen) has set me thinking. I plan a blog post on this discussion, coming up next.

Then, I may not be able to resist jumping into the issue of prices and how crazy the art market is. Discussing an artist whose work brings some of the highest prices of any living artist in the same breath as three mid-level artists makes it hard to avoid that particular elephant in the room.

What is the realtionship between quality and price in the art market? Why do these four artists have such different price points?

Shandaken Art Studio Tour July 20-21

Save-the-date for the Shandaken Studio Tour, when it is my pleasure to arrange and open up my studio to new folks doing the tour, my collectors, fellow artists, and friends. This is a busy weekend for me, though oddly grouped sometimes (last year about half the people who came by seemed to be there just after 2pm on Sunday!). Here are a few of the pieces that I plan on showing.

"Rare Summer Silence", 20"x30".

“Rare Summer Silence”, 20″x30″.

"Mountain Vista", 24"x48", $5,000.

“Mountain Vista/Max Patch”, 24″x48″.

Unreservedly Summer, 10"X30", 2013, $2,000.

“Unreservedly Summer”, 10″X30″.

Favorite Pieces at my Galleries

Within the past month six of my galleries have either received new work or been delivered the whole grouping that they will show for the season. I have chosen a favorite piece from each location to show you below—I hope you get a chance to visit these wonderful galleries!

Ongoingness of Summer, 3 panels of 24"X30"/ea., $9,000. (GG)

“Ongoingness of Summer”, 3 panels of 24″X30″/ea., at Gold Gallery in Boston.

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

“Cranberry Bog in Reds”, 48″x24″, Van Ward Gallery, Ogunquit, ME.

"Spring Light", 36"X36".

“Spring Light”, 36″X36″, Chace-Randall Gallery, Andes, NY.

Sundrenched Saltmarsh, 20"x16", $2,000, 2013. (JHG)

“Sundrenched Saltmarsh”, 20″x16″, Julie Heller Gallery, Provincetown, MA.

Oak Bluffs Morning Fog, 3 panels of 14"x18"/ea., $5,000. (DG)

“Oak Bluffs Morning Fog”, 3 panels of 14″x18″/ea., Dragonfly Gallery, Oak Bluffs, MA.

 

Overlook Summit View, 24"X48".

“Overlook Summit View”, 24″X48″, Albert Shahinian Fine Art, Rhinebeck, NY.

An Invitational Show in Newburgh

Luminists_Poster_or_flyer9A(3)

"Particularity of Place", 36"x36", one of three pieces of mine included in the show.

“Particularity of Place”, 36″x36″, one of three pieces of mine included in the show.

A Few Recent Sales

Trove: From the Road, 16 paintings of 3"X5"/ea., 22"X28" framed..

“Trove: From the Road”, 16 paintings of 3″X5″/ea., 22″X28″ framed. This sale was quite a story, involving a trip to Chicago where it hung perfectly on a particular wall, then back to my studio where it was almost shipped off to my Boston gallery; then the intervention of a purchase as a generous gift so that it ended up back in Chicago in its perfect spot. There were several co-conspiritors on this one!

Mutable Sky, 20"x40", $3,600.

“Mutable Sky”, 20″x40″, to a lovely home in Woodstock.

Upcoming painting workshops

Landscape and Mood, the Woodstock School of Art, June 24-26.  http://woodstockschoolofart.org/

Landscape and Mood, The Provincetown Artists Association and Museum, September 16-19  (this will be on their website soon). http://www.paam.org/mspaam.html