Moody, Minimalist Landscape Painting

Posts tagged “sunsets

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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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.

“Contours/Distillations”: a Solo Show

“Contour/Distillations” has been extended to October 11th.

contours:distillations

We are tremendously drawn by stuff. The content of our lives—acquiring possessions; taking care of or replacing said possessions; packed schedules; busy brains—loudly demands attention. What we need the most for balance is intervals of the absence of our stuff, and yet it is hard to reset and choose openness over content.

“Blue Tidal Pool”, 20″x24″.

Creating space in my life is an ongoing project, and has long drawn me both to spend a great deal of time outdoors and to paint my landscapes in an open and minimalist manner. This approach quiets the mind, evoking a direct response. Abstract elements can elicit deep, complex feelings, (a theme beautifully explored in Vassily Kandinsky’s 1910 “Concerning the Spiritual in Art”) and larger, flatter shapes with soft edges awaken the wide-open feeling of being outdoors in our atmospheric world.

Tree/Mist, 18

Tree/Mist, 18″X48″.

Delving further into the less-is-more discussion, I think that less is different. If there are many details to look at in a painting they tend to compete for attention, creating an experience that remains purely visual or intellectual without going deeper. With fewer elements and more open space, both the emotional and formal content have enormous impact, often visceral. At the same time, what is there has to hold up under analysis, as there is no hiding.

Layered Clouds, 20

Layered Clouds, 20″X16″.

My process in the studio is comprised of long swaths of time in which I am intensely focused and living within the emerging painting, punctuated by intervals of scrutiny and analysis during which I observe the elements with as much distance as possible. This rigor is, ultimately, what allows the viewer to sink into the piece—-many small just-so decisions to create a seamless whole.

Diagonal Flux, 36

Diagonal Flux, 36″X36″.

The landscape inevitably holds powerful associations, so painting it becomes a back-and-forth between exploring the narrative and focusing on the formal elements of shape, composition, surface, color, and edge. In this body of work, drawn from the past several years, I am presenting the most open, color-field aspect of my work. Viewers can bring their own memories to these paintings, as mine are only suggested, or simply experience them as a conduit for feeling.

“Affinity/Dusk Road”, 30″x30″.

Both the above and below are from my Affinity Series. These pieces start with fraying the edges of raw linen; gluing it down to the board; priming with dark primer, and gridding the whole thing with graphite. Then I do the actual painting, and when it dries some selective regridding. The series evolved from the desire to manipulate my support in a way that moves my other choices in a more abstract direction, and brings attention to the surface.

“Affinity/Black Trees”, 30″x30″. (Sold)

Sometimes, as in the new postcard piece, “Tender Reds”, there are more shapes included. I see this as being a rhythmic approach—repetition of similar shapes moving across the surface of the painting.

“Tender Reds”, 32″x70″.

This piece is less minimalist, but just as abstract. The reduced palette with a white sky allows it to hover between a dreamy in-the-moment being there and an on-the-surface color-field painting.

If one were to consider this as a totally abstract piece, the exercise would be to turn it sideways, or upside down. Compositionally, upside down would work very well, but not sideways—too strong of a horizon line, now going vertical. This would be true of every painting I do—abstracted, but not abstract, and usually with a clear horizon line as an anchor.

“White Trail” has a number of horizons, but the strong line in this piece moves on a skipping, slightly diagonal vertical, emphasizing the format. This piece, too, has a sense of rhythmic repetition of forms.

“White Trail”, 40″x30″.

I have been exploring for this show how a large composition can be successful in small format with these oil-on-paper pieces.

“Study/Gleam over Tidal Flats”, 6″x10″.

“Study/Mountain
Contours”, 4″x14″.

“Study/Sunset Sea”, 5″x5″, oil on primed paper.

Quiet, tonal color is most often my choice, as it tends to sit back, creating emotional space and allowing for introspection.

“Autumn Bay Mists”, 18″x52″.

But every so often I like to move to stronger color to intensify the timbre of the experience. Whites work well—like a thirst-quenching drink of water— when paired with strong, saturated color.

“Sunset Reflected”, 12″x36″.

Most of my pieces have quite a bit of contrast, moving from an atmospheric white or off-white (often tinged with a bit of Mars Violet) to a true black. I find, though, that low-contrast pieces can be intensely riveting in a different way, kind of like a full-throated, low hum. “Evening Shoreline”, below, is an example of this.

Evening Shoreline, 12

Evening Shoreline, 12″X12″.

“Continuing Progression” is really a study in monochromes. The detail of the row of trees on the right, seemingly very subtle, actually pops more because of the reduced palette.

Continuing Progression, 24

Continuing Progression, 24″x48″. (sold)

The body of work presented represents the core of my thinking, my base of operations. Albert Shahinian Fine Art, my gallery of longest standing, is the perfect venue for this theme-based exhibition, having shown, over the years, every possible exploration that I have launched from this base.

I hope you can join us for the reception on July 25th and my talk on August 2nd to see all 40 pieces and hear more about landscape, form and mood.

Link to a short but sweet article on the show by Paul Smart in the Almanac:

New paintings by Christie Scheele on view in Rhinebeck

The installation and reception, below:

Installation shot, wall with Affinities.

Installation shot, wall with Affinities.

With and old friend at the reception.

With my old friend Deb at the reception.

Installation shot, wall with postcard piece.

Installation shot, wall with postcard piece.

Additional work in the show:

Drifting CLouds, 20

Drifting Clouds, 20″x20″.

Approach in November, 6

Approach in November, 6″x24″.

“Lush Mists”, 12″X36″.

Hill Beyond Hill, 3 panels of

Hill Beyond Hill, 3 panels of 24″x20″.

Winter Field, 10

Winter Field, 10″x30″. (Sold)

Dawn Headlights, 12

Dawn Headlights, 12″X36″.

Cranberry Bog, 48

Cranberry Bog, 48″x24″.

Stormy Sea, 12

Stormy Sea, 12″X12″.

Glowing Mountain Mists, 20

Glowing Mountain Mists, 20″X30″. (Sold)


So much happening! Summer Season 2014.

Over the top busy this spring and summer, with new galleries, a solo show in place and several other shows coming up between now and August.

We had a lovely, packed opening reception at Chace-Randall Gallery in Andes, NY. I will be updating the blog post I created about the work in the show as pieces continue to sell—but you really should see the show in person, if you couldn’t make the opening! Thank-you to Zoe Randall for the party and especially for a great job hanging the work. The show will be up through July 7th.

https://scheeleart.wordpress.com/wp-admin/post.php?post=2657&action=edit

With the largest painting in this show,

With the largest painting in this show, “Interwoven Stories”.

10411313_10154195613425249_5583564957244891807_n

Host Tom Lavazzi pouring wine…and tons of nice conversation passing around.

Owner/driector Zoe Randall and I in front of the [postcard piece, "Turquoise Light".

Owner/director Zoe Randall and I in front of the postcard piece, “Turquoise Light”.

I am showing again at Butters Gallery in Portland Oregon— and so  pleased to add this reputable gallery in a new locale to my list. I participated in the “Line” show there last winter, curated by Melinda Stickney-Gibson, and have remained on the roster. Opening June 5th is a 4-artsist landscape show, invitation below. For my work in the show, see their website:

http://www.buttersgallery.com/Artist-Detail.cfm?ArtistsID=486&sr=1&ppage=6

eastwest143

BUTTERS GALLERY LTD 520 NW DAVIS PORTLAND OREGON 97209 (503) 248-9378 (800) 544-9171 gallery hours: tuesday-friday 10-5:30 saturday 11-5 http://www.buttersgallery.com

East / West

June 5th – 28th 2014

Opening Reception: Thursday June 5th, 6 – 9 pm

My newest gallery is Edgewater Gallery in Middelbury, VT. This happened the way we artists love it to happen—a phone call offering representation. A beautiful space and locale, I am happy to be on the walls, and look forward to events there, starting with a visit and meet-and-greet in October. I just shipped off this triptych, painted with them in mind. See their website for additional work:

http://www.edgewatergallery-vt.com/scheele-christie.html

"Hill beyond Hill, 3 panels of 24"x20"/ea.

“Hill beyond Hill, 3 panels of 24″x20″/ea.

Up next is my duo show (with  M.J. Levy Dickenson)  at Julie Heller East in Provincetown, July 18-31, with an opening reception on July 19th from 6pm on. That same night we are also hosting a reception through the gallery at the Anchor Inn with larger pieces of mine and the work of Polly Law, 7-9pm. The idea is that viewers can go from East End to West End and see both shows.

Arriving at the Anchor Inn/JHG on June 5th, this new piece.

"Entering Province Lands", 30"X60".

“Entering Province Lands”, 30″X60″.

In August I will be showing with Louisa Gould Gallery on Martha’s Vineyard in a show with Louisa herself and Paul Beebe. Dates are August 7-27. with opening reception August 9th, 5-7pm. I am new to this beautiful gallery in Vineyard Haven, though I have been showing on the island since 1998, beginning with Carol Craven Gallery and most recently with Dragonfly (thank-you, Carol, Don, and Susan!). The show will include several large-formeat pieces of Vineyard locales.

Here are a few pieces hanging now in her Memorial Day show, including several new ones recently delivered.

"Lifting Rain, 20"x60".

“Lifting Rain, 20″x60”.

"Summer Sunset/Tidal Creek", 36"x12".

“Summer Sunset/Tidal Creek”, 36″x12″.

Tucked in among all of these shows with my galleries is a very sweet happening, a show called “Three Generations” at Cano (Community Arts Network of Oneonta) in Oneonta, NY. This show will feature my mother, Gerri Scheele, with the ceramics that she was so well known for and the landscapes that followed; myself; and my daughter and son Tessa and Tony Scheele Morelli. This will be a special family affair staged at the Wilbur mansion, where I did my first oil painting at age 11 and where my mother showed extensively for many years.

Heading next week to Gold Gallery in Boston, this newly repainted piece. I am looking forward to my second solo show there in March of 2015.

"Endless Sky", 36"x72".

“Endless Sky”, 36″x72″.

Some spring sales:

"Bridge Crossing in Violets", 12"X12". (Sold by Butters Gallery.)

“Bridge Crossing in Violets”, 12″X12″. (Sold by Butters Gallery.)

 

Sunset River Expanse", 20"x62". (Sold by Albert Shahinian Fine Art.)

Sunset River Expanse”, 20″x62″. (Sold by Albert Shahinian Fine Art.)

 

"Approach," oil on vintage blackboard, 11"x13.5". (Sold by Chace-Randall Gallery.)

“Approach,” oil on vintage blackboard, 11″x13.5″. (Sold by Chace-Randall Gallery.)

ALL of my galleries have work of mine at all times, so wherever you are or travel to among these locales, check them out!

Workshops are upcoming at the Woodstock School of Art June 23-25  and Provinctown Artists Association and Museum, September 15-18.

Abstraction and Narrative in the Landscape
Working in Oil or Pastel
Using photograhic reference, we will investigate how the elements in a landscape painting serve the whole, accessing the formal qualities of color, shape, edge, and composition to create compelling imagery. The first day we will explore these tools and how they impact the implied narrative of the painting through exercises in oil or pastel on paper. In these studies we will add, subtract, move elements around and change color using our painterly hand. Instead of painting over changes, each study will remain intact while we start a new one so that all variations can be rigorously critiqued and compared before being used as a springboard for a larger painting.
Days 2-4 will include a demo of color-mixing from primaries; more compositional studies, and pursuing fully realized landscape paintings on canvas or larger pastels. Instruction will emphasize the reduction of detail to create a strong, clean composition, along with discussion of both the abstract and the narrative qualities brought out in individual paintings.


Staying Fresh

How do we do it?

I have been working exclusively with landscape imagery since 1990, and painting full time since about 2004. I like nothing better than to be in my studio working, and since I have multiple galleries that all need work, that means a good number of landscape paintings over the course of the years.

So how do I keep it fresh, avoid being bored (which would surely show up in the work), not fall into painting the same painting over and over again?

This is a big question for artists who have a market for their work. Some do just that—paint the same thing, essentially, for decades on end, though realists and plein air painters often have a great love for minute changes in subject matter and locale and keep themselves happy and entertained with these shifts. No judgement here from me–the happy or engrossed artist is the key to good work.

We have all seen artists in the blue chip realm who disappoint with a new body of work (will Susan Rothenberg ever be able to delight me as much as she did with the early horse series?) And yet, the custom of many decades now is for an artist to work serially, ideally moving gracefully and yet compelingly from one body of work to another, maybe over the course of a few years (and often marked by the solo at their major gallery, when it is assumed that that work will leave their studio and never come back, making it easy to start a fresh series). Preferably, from the market standpoint, there is some stylistic or thematic continuity from one series to the next.

I found my true niche with my minimalist mode of landscape painting back in 1990, and a few years later felt a need for opening up my explorations. I addressed it then by expanding the range of my subject matter and palette. Initially, I had avoided anything overtly dramatic, keeping to tonalist color and flat light, and the first shift brought me into a complex sky, or a brighter, blue-sky day.

(The photos in this post may be more current examples, since I have not even begun to get all of my pre-digital slides and photos scanned.)

"Rare Summer Silence", 20"x30".

“Rare Summer Silence”, 20″x30″, (courtesy Gold Gallery), an example of the sort of palette and light that has drawn me from the beginning.

Sky in Motion, 24"X20", $2,800. (GG)

“Sky in Motion”, 24″X20″ (sold by Gold Gallery), which shows the kind of complex sky that beckoned a little later on.

 As the years passed and I felt ever more firmly in the saddle of my approach, I dared take on subject matter that borders on the cliche for a landscape painter—sunsets, a beach path, fluffy white clouds, even a sailboat at rest. I enjoyed the challenge of painting these subjects while avoiding the melodramatic or sentimental, at first by aided by instinct and later with a clearer understanding—which I now teach—of how this can be achieved.

Sunset Sea in Red/Gold, 20"x60", $6,500.

“Sunset Sea in Red/Gold”, 20″x60″, (private collection).

I also played with format. The first time I did a vertical landscape I had never actually seen it done, and I found it quite daring. Later, I explored extreme verticals, as well as horizontals.

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

“Cranberry Bog in Reds”, 48″x24″ (courtesy Gold Gallery).

The next time I felt restless, I still thought of subject matter, now manmade elements.  I started with phone poles, and moved on to urban images, road imagery, and then grittier industrial imagery. In 2003 I had a show at Albert Shahinian Fine Art, then in Poughkeepsie, called “Manmade”.

ExhuberantStorm

“Exuberant Storm, 30″x36” (sold by Chace-Randall Gallery).

"Conviction of Beauty", 12"x

“Conviction of Beauty”, 14″x40″ (courtesy Albert Shahinian Fine Art).

Bridge Crossing in Violets

“Bridge Crossing in Violets”, 12″x12″ (courtesy Butters Gallery).

A few years later, I pondered how to get my love for the grid into my work (bearing in mind that my background is in contemporary, not traditional, art).  On first glance, it seemed that there were only a few ways to incorpoarate this with landscape imagery. But I decided to just get started doing these first ideas, and eventually it became clear that there were many ways to bring the landscape and the grid together.

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

“River in 5”, 5 panels of 10″x10″/ea., (sold by Albert Shahinian Fine Art), one image stretched over a number of panels.

"Trove",

“Trove”, 35 3″x5″ oil-on-panel paintings (private collection). In order to make these separate images hang together and not be too busy, I used at least some reds in each piece, and toward the end I painted six or seven very minimalist black-and-red images to create a sort of matrix for the brighter, more complex pieces. Also, some of the images had already been explored in larger pieces, usually in a different format, and revisiting them was a pleasure.

"Rainy Road/Fireflies", 3 panels of 12"x12"/ea. (sold)

“Rainy Road/Fireflies”, 3 panels of 12″x12″/ea. (sold by Gold Gallery), three versions of the same stretch of road and close to the same moment in time, with implied movement and a non-linear nod to film.

Somewhere around 2002, once again contemplating my next move, I began to use vintage boxes and other distressed objects as my support, selecting imagery and palette to mesh with the elements already present in the object.

Approach, oil on vintage blackboard, 11"x13.5"

“Approach”, oil on vintage blackboard, 11″x13.5″ (courtesy Chace-Randall Gallery). Elements and color in the image reflect grain, texture and color present in the frame of the blackboard.

This series sometimes requires applied problem-solving in to addition visual/aesthetic decision making, and I  enjoy the stretch of the brain.

Many of these pieces have been set in lovely old compartmentalized boxes, trays, or pans, which means that they also explore multiple-panel imagery.

"Mountain Fall in 6, 5"x18" (courtesy Albert Shahinian Fine Art).“Mountain Fall in 6, 5″x18” (courtesy Albert Shahinian Fine Art). This appears to be an old coin drawer from a cash register. At first I thought of putting small panels within the compartments, but that obscured the lovely curve at the back. Finally, I created flexible pieces of backed linen that follow the curve. I had to take them in and out a number of times while I was painting them, since being set back changed the light and therefore the color substantially.

When I was preparing to do my Cyclone Sampler, I spent a great deal of time just figuring out what I was going to paint on before nestling the tiny panels into the compartments of the box (I settled on bevel-cut 8-ply matboard—bless my framer—that I sealed front and back with multiple coats of matte medium, since I did not want to put glass over this piece). A spontaneous decision at the end, purely aesthetic, was to leave a few compartments empty, avoiding the feel of a catalogue.

Cyclone Sampler

“Cyclone Sampler”,21.5″x10.5″, (collection of the Tyler Museum of Art). Unlike the expansive feel of my single-image landscapes , this piece shows the vast energy of many twisters tightly contained within the grid.

 This series has as many possibilities as the amazing things that I come across that fire my imagination, though I often have to stare at the object for up to a year before I decide what I want to do with it.

Irrigated Fields, (sold by Albert Shahinian Fine Art).

Irrigated Fields, 4″x18″(sold by Albert Shahinian Fine Art).

My most recent addition is the Affinity Series, oil paintings on linen with frayed edges on board overlaid with graphite gridding. I don’t even remember the exact thought process that brought these into being, but it started with the idea of manipulating the support. I was enjoying both selecting and adjusting the subject matter to the individual vintage object that I was using in the pieces in that series, and was interested in creating a more specific support myself, forcing a considered mesh between it and the painted imagery.

Generally the imagery that works best with the frayed edges and gridding in the Affinity Series is either very minimalist or has strong linear elements.

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.

That I ended up with graphite gridding as an overlay was a circle-back to my longstanding interest in the grid, bringing the viewer’s eye to the surface of the piece and creating mixed associations. Some of the latter I hadn’t even thought of, like the historical use of gridding to aid with proportions while transferring a small image, or maquette, into the larger finished piece, an association that other artists have pointed out to me.

Affinity/On the Grid, 36"x48", (courtesy Gold Gallery).

Affinity/On the Grid, 36″x48″, (courtesy Gold Gallery). In this very recent piece I pushed the gridding quite a bit, moving to black instead of graphite and actually spending more time very selectively gridding than on the earlier painting portion.

Many pieces now are some combination of these series. For example, often the frayed linen on board of the Affinity series works well in an old box.

"Factory at Work", 7>5"x3.5" (courtesy Julie Heller Gallery).

“Factory at Work”, 7.5″x3.5″ (courtesy Julie Heller Gallery).

All the while, I have continued to paint my wide-open landscapes on linen. Doing all these other explorations makes a small new slant on a salt marsh or hillside painting feel exciting and fresh, even though I have been painting this imagery for 24 years.

"Blue Light", 20"x60", 2014.

“Blue Light”, 20″x60″, 2014.

I love expanding the repertoire, adding both new versions within a body of work that reflects longstanding interests and, every so often, a whole new series. In my week-to-week, month-to-month, I juggle these series simultaneously, rather than consecutively, keeping myself riveted to what is developing in my studio.

The constant is the landscape.

"White Light/ Red Light", 24"x24", (Courtesy Chace-Randall Gallery).

“White Light/ Red Light”, 24″x24″, (Courtesy Chace-Randall Gallery). Sneak peak at a new piece going into my upcoming solo, opening May 24th!

What is next? (I have several ideas just taking shape, so not sharing yet!)


August Newsletter

At the height of this most lovely summer, things are going beautifully both inside and outside of the studio. I am currently busy replenishing my galleries, with recent deliveries to Chace-Randall in Andes and Albert Shahinian in Rhinebeck, and plans for another one to Gold Gallery in Boston.

During summer, I leave my studio door open and listen to the sound of the creek behind it, using my yard as an extended studio. I wish we could start all over again at the beginning of June…but plan on fully savoring what remains.

"Rare Summer Silence", 20"x30".

“Rare Summer Silence”, 20″x30″.

I recently published a blog post on creating an abstract painting, using three exhibitions that I attended in May-June as the basis for my discussion. I sent this out to my list of artists, but not to my whole list, so be sure and take a look if you think you would be interested. Collectors and friends have sometimes commented on how much they would like some sort of  art historical/art appreciation primer. This discussion would serve that purpose in regard to the formal elements of constructing a painting (any painting, not just an abstract one).

https://scheeleart.wordpress.com/2013/08/02/three-abstract-artists-ellsworth-kelly-jenny-nelson-and-melinda-stickney-gibson/

The Shandaken Art Studio Tour was busy again this year, with the added bonus for me of my two 21-year-olds participating. We had nearly 100 people coming through, with good conversation, sales, and follow-up, as well. Below, “Rainy Road/Metal Box”, one of the last pieces that I finished before the Tour, was acquired by a friend.

Rainy Road/Metal Box, 4.5"x9".

Rainy Road/Metal Box,4.5″x9″, sold at the Shandaken Art Studio Tour.

Checking out my "Affinity/Waterspout" with a visitor.

Checking out my “Affinity/Waterspout” with a visitor.

These two pastels sold at the Tour to the same couple. Buying pastels unframed is a really nice way to go, since then the collectors can pick frame and mat that look good both on the piece and in their chosen spot. I accompanied them the weekend after the Tour to my fabulous framer, Geoffrey Rogers (since 1990!) to assist in picking out just the right presentation.

"Downriver", 15"x28".

“Downriver”, 15″x28″.

Skyline with Sunset,

Skyline with Sunset, 21″x8″.

Since this is the season when many of my galleries are in full swing, there have been a nice number of sales, each with their own story. As I started putting this post together, there emerged a series of short vignettes about these  acquisitions, so I am running with that. Below, a handful of pieces sold recently and some accompanying stories. (This is one of the reasons that I like to stay in close touch with my galleries—to collect all of this information on what goes on and to impart to them observations of my own. It can also be helpful to share current news from one venue to the next, since they are too busy in their galleries to get much chance to exchange notes.)

Seaview Morning Mists, 12"X12", $1,400, 2013. (DFG)

“Seaview Morning Mists”, 12″X12″, 2013, sold through Dragonfly Gallery.

A fellow fell in love with the below piece in Andes, promising to bring his wife the next weekend.

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

“Mists off the River”, 12″X36″.

Fortunately, he also liked other work of mine in the gallery, including “Evening Headlights”, since his wife was smitten with it, and they decided that this piece was the one.

Couples work this out in differing ways. Sometimes they feel they need to agree 100% on each acquisition. Other times they take turns selecting the particular piece, but do need to agree on the artist.

Evening Headlights, 10"X30".

“Evening Headlights”, 10″X30″, sold through Chace-Randall Gallery.

I finally managed to get one of my larger Affinities to my Boston gallery and it was the very next thing that they sold. This piece was admired last summer in my studio by another artist as “the darkest landscape I have ever laid eyes on”. (And it WAS meant as a complement!)

Affinity/Seagleams, 12"X48", $3,800.

“Affinity/Seagleams”, 12″X48″, sold through Gold Gallery.

“Still Waters”, below, was finished last week and sold within a few days. I had a lovely time painting it, feeling mesmerized by the fog. It is going to a collector who has long wanted a large piece of mine.

"Still Waters", 20"x60", studio sale/Albert Shahinian Fine Art.

“Still Waters”, 20″x60″, studio sale/Albert Shahinian Fine Art.

Both this triptych and the even larger one sold by Gold Gallery last fall from my solo show there went to first-time buyers. That is quite a leap!

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

Ongoingness of Summer, 3 panels of 24″X30″/ea., sold by Gold Gallery.

“Crossing at Dusk” was recently purchased by clients of my Andes, NY gallery. Interested at first in the above “Mists off the River”,  as they weighed their options they discovered a piece on my Boston gallery’s website, and this ended up being their final choice. They knew to work through the original gallery, though, and the sale was a co-broke between the two venues.

Crossing at Dusk, 24"X48", (TGG).

Crossing at Dusk, 24″X48″, sold by Chace-Randall Gallery/Gold Gallery.

A couple visited my studio looking for an over-the-couch sized piece with subtle color. After checking out some possibilities here, they headed over to Albert Shahinan Fine Art to look at a particular piece there. While perusing their ample holdings of my work, they fell in love with this smaller piece, below. So, following their heart (instead of sticking to a strict purpose) they left with “When Autumn Glows Softly”, leaving the larger spot to be worked out in the near future, most likely with a commissioned piece.

When Autumn Glowed Softly, 24"x30", sold through Albert Shahinian Fine Art.

“When Autumn Glowed Softly”, 18″x24″, sold through Albert Shahinian Fine Art.

They were no sooner home than they had it up and sent me a jpeg of the piece installed. So nice!

When Autumn Glowed hanging.

“When Autumn Glowed” hanging.

Two workshops are coming up, at the Provincetown Artists Association and Museum September 16-19, and the Woodstock School of Art October 18-20th  I am planning a different sort of workshop for next year that dials in on issues of composition and color with a series of exercises on primed paper. This should be great with beginners, and also a big help for experienced painters in better understanding decision-making about the formal elements of painting.

I will be scheduling a 1-day intake seminar for mentoring for career support in September or October—see link below for more info. Let me know if you are interested!

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

Happy August!

"Memory's Waters", 16"x20", Cooper Lake in summer blue/greens.

“Memory’s Waters”, 16″x20″, Cooper Lake in summer blue/greens.


Spring Newsletter

Cloud over Castle Deel, 30"X36".

Cloud over Castle Deel, 30″X36″.

The winter abundance in my studio is heading out for various points East, West, and North. Not only am I hard at work during the colder months, but also usually have work  in the studio that comes back from my seasonal galleries in the Northeast. Then, in the spring begins the exodus, to both buyers and galleries.

All busy career artists find that sometimes work needs to move around to a few galleries before it sells. Some galleries like to keep a piece they like—and have gotten a good response to—indefinitely, while others, especially those that close down during the off-season, prefer to have all new work each year. This is typically a combination of brand new work and some pieces that have previously been in other galleries.

One galleriest who I have been showing with for many years is in the former category, feeling a devotion to certain pieces  such that he wants to keep them until they sell, whether that happens in a day or a decade. “Art is not meat—it does not go bad”, he has been known to say, if someone questions the date on a piece.

There is a good deal of randomness in why a piece sells sooner or later. With my work, there are a number of variables. Size, format, palette, and locale of imagery are among them. Who stops by which gallery when, with what size wall in mind…or with an open mind? What is their budget? Do they have strong color preferences? Are they buying the piece that slays them, or a locale that they are fond of? Are they looking for a gift, trying hard to get it right?

Some of my work that I consider more accessible—often a little brighter—appeals to a broader spectrum and so has a larger pool of possible buyers. The moodier work draws from a smaller pool, but often so forcefully that they feel that they must have the piece. So, which one is more likely to sell?

Lucky for me, my studio process allows for a number of concurrent explorations, making it easy for me to ignore all such considerations while working. This is key for any artist.

Mists off the River, 12"X36".

Mists off the River, 12″X36″.

In recent news, I did a pop-up show in Chicago in early March, partnering with the Asher-Neiman Gallery, which included the work of Jill Ricci (see work on the gallery website, http://asherneimangallery.com/ ).

It was held in the beautiful Lincoln Park home of family friends. (See my blog post on how these home shows work, https://scheeleart.wordpress.com/2011/12/13/open-studio-house-party/ ) Our hosts threw a lovely party, very well attended , with excellent food, wine,  art (of course!), and conversation enjoyed by all.

Winter Brilliance and a small Affinity in the living room.

Winter Brilliance and a small Affinity in the living room.

Changed Integrity in the second floor stairwell.

Changed Integrity in the second floor stairwell.

Rivergimplse and Extravagant Sky in the dining room.

Rivergimplse and Extravagant Sky in the dining room.

Lightening Storm, one of the pieces that sold in Chicago. This one going gave me a pang!

Lightening Storm, one of the pieces that sold in Chicago. This one going gave me a pang!

"October Saltmarsh", 24"X48", looked so perfect  where we hung it that it ended up staying.

“October Saltmarsh”, 24″X48″, looked so perfect where we hung it that it ended up staying.

I am happy to again be  showing at the Thompson Giroux Gallery in Chatham, NY, with  seven pieces included in a show titled “Slow Down Make Space”. Below are a few pieces that are in the show.

_Slow Down Make Space_ - invite - back

Spinning Clouds, 20"x40".

Spinning Clouds, 20″x40″.

Sunset Roofline, 24"x30".

Sunset Roofline, 24″x30″.

 

I am newly represented this year by Van Ward Gallery in Ogunquit, Maine. They, along with Dragonfly Gallery in MV and Chace-Randall in Andes, NY, are opening for the season the weekend of May 11, each with a fresh collection of my work. Final picks have not yet been made, but here are some new paintings that will be off to these galleries, as well as to the Julie Heller Gallery in Provincetown.

Seaview Mists, 12"X12", another in my Oak Bluffs morning fog series. Off to Dragonfly Gallery on the Vineyard soon!

Seaview Mists, 12″X12″, another in my Oak Bluffs morning fog series. Off to Dragonfly Gallery on the Vineyard soon!

Continuing Progression, 24"x48", $5,000.

Continuing Progression, 24″x48″.

Sandflats in Red/Purple, 11"X14". Since folks who have not experienced extreme tidal flats have trouble making sense of these images, this piece will most likely land at Julie Heller Gallery in Provincetown.

Sandflats in Red/Purple, 11″X14″. Since folks who have not experienced extreme tidal flats have trouble making sense of these images, this piece will most likely land at Julie Heller Gallery in Provincetown.

I taught two workshops in March, a two-day painting workshop at the Woodstock School of Art and a Mentoring Seminar in my studio with six artists from NJ, Louisiana, Westchester, and our area, working with their diverse styles and aspirations to further both work and career.

"Sandflats with Seagrass", oil on beach-weathered fiberglass, 4"x18".

“Sandflats with Seagrass”, oil on beach-weathered fiberglass, 4″x18″.

Coming up, that I know of? The Shandaken Art Studio Tour, July 20-21, always a busy weekend for me, by which time I will have created new abundance in my studio. A painting workshop at the Woodstock School of Art June 24-26; another at the Provincetown Artists Association September 9-12; and a Mentoring workshop May 5th, also at the PAAM. Gold Gallery in Boston needs a new infusion of larger pieces, so I am about to embark on another big triptych. I will be bringing new work to them at the same time I deliver to the Vineyard and Cape Cod, the first week in May.

So…stay tuned, keep in touch, and happy spring!

Affinity/Watertower, 20"X20".

Affinity/Watertower, 20″X20″.