Moody, Minimalist Landscape Painting

Posts tagged “Oak Bluffs

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 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to peruse and can reduce the number of emails that I send showing dealers my currently available work, as those become outdated quickly also.

 

Tree with Mists, 18″x48″, $4,600.

 

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/

 

Layered Reds, 30″x40″, $5,000.

 

Additional work can be found at my galleries: Albert Shahinian Fine Art in Rhinebeck, NY; Julie Heller Gallery in Provincetown, MA; Louisa Gould Gallery on Martha’s Vineyard, MA; Butters Gallery in Portland, OR; Thomas Henry Gallery on Nantucket, MA; and Thompson-Giroux Gallery in Chatham, NY.

 

Moving Sky, 24″x48″, $5,000.

 

 

“Turquoise Light” , 30″x40″, $5,000.

 

 

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

 

 

Contrasting Sunset, 18″x52″, $4,800.

 

My Saltmarsh, 24″x30″, $3,600.

 

Downriver, 24″x24″, $3,200.

 

River with Big Sky, 24″x30″, $3,600.

 

Red Line, 24"48", $5,000. (CVB, Solera)

Red Line, 24″x48″, $5,000.

 

 

River Island with Castle, oil on board, 9″x36″, $1,800.

 

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

 

 

 

 

Sunset Roofline, 24"x23".

Sunset Roofline, 24″x30″, $3,600.

 

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

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

 

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

 

Marsh at Dusk, 14"x16",

Marsh at Dusk, 14″x16″, $1,500.

 

Affinity/Return at Dusk, 12"x24".

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

 

Light into Dark, 12″X24″, $2,000.

 

Layered Clouds, 20″x16″, $2,000.

 

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

 

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

Affinity/Dual Twister, 10″x10″, $900.

 

Moors with Mists, 6″x24″, $1,500.

GleamingSkyoverProvincetown

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

 

SummerCloudbank

Summer Cloudbank, 10″x30″, $2,000.

 

 

 

 

 

 

 

 

 

 

 

 

 


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


Tidal Flats

“Sunset Contours”, 20″X20″, an intense moment when the setting sun coincides with the lowest tide, creating very black flats framing tidal pools.

Back on the Flats

Vacations, especially family ones, can be complex, and even when things go smoothly, it often takes a few days to relax.

On the tidal flats in Brewster on the Cape, it only takes me about three minutes into my first walk to melt into a blissed-out state, which is then repeated every time I set foot on the wet sand. From the beach entrance, it doesn’t look like much (where did all the water go?). Once you are striding across the sandflats, though, the effect is riveting. The shifting sky is vividly reflected in the tidal pools, so different from when the waves come in at high tide on the bay, and the constantly changing shapes of sandbars and tidal pools as I walk the mile or so out to the last bar are elegant and mesmerizing. The knowledge that I am walking on the bottom of the bay, that in a few hours the water on the sandbar that I tread will be over my head, intensifies the ephemeral wonder of the moment. My body in motion creates a stream of new shapes and colors, the movement of the tide alters the shapes of the tidal pools and sandbars, and the sky’s constant change is reflected in the pools. I move with purpose, as if I have a happy but important job to do.

Over the years, I become more and more fascinated with watching it in all its familiarity and constant transformation.

For a landscape painter, sense of place is always key. I often contend, though, that for the artist the painting needs to be more important than the place—that to even capture the place, any place, you need to keenly focus on the dynamics of color, composition, surface, and edges, while engaged in the process, and that mood will follow. The tidal flats experience transends this argument perfectly, though, providing the feel that I want to evoke both in my work and to experience while working—wide open, expansive, joy-infused serenity set in moments of crystalline focus—and this over a period of time, the body moving and engaged.

Moving from bliss to pictoral analysis, the shapes of the sandbars, tidal pools, and clouds over the flats lend themselves to the kind of color field painting that I love—essentially and yet barely a landscape. The interlocking shapes of the elements are sometimes subtle and others assertive; sometimes elegant and others odd, and like nothing else in the natural world.

Binary of mutually exclusive truths: the essence of sense of place and the purest abstraction.

“Blue Cloud” , 12″X12″, a storm rolling in over the flats.

“Blue Tidal Pool”, 20″X24″, all about the direction of the clouds.

Commanding Angles, 12″X24″, one of the quirkiest and most abstract pieces.

Evening Clouds, 12″X12″, the sky with two different types of clouds, the piece about angles and mood.

Sandflats with Cloudbank, 40″X50″, a color field painting, though the flats and sky really did look like that!

Vertical Sky over Tidal Pools, 36″X12″, the format seems counter-intuitive, but the slight tension created forces the eye back on the composition.