Britt Portrait

Britt

 

 

Painting from life is a challenging and rewarding undertaking.   This model had beautiful distinctive features which helped in establishing facial "landmarks."   Her flesh tones seemed pale under the studio spotlights so I took the liberty of giving this lovely woman high color.

Floral at the Fair

Oil Paint

 

 

 

These paintings were done at the 2021 Marshfield Fair.   At noon, twelve floral designers set out to create a ribbon winning design.  At 2PM twelve painters were assigned an arrangement to capture in paint.

 

 

It was a fun experience and so interesting to see how different painters approached their floral creation.   The floral designers seemed to basically have the same flowers, so to me, the color schemes of each were so very similar.   But as you see,the painters' works were vastly different!

Acrylic

Watercolor

Dinghies at Town Pier

Dinghies at Town Pier - Phase One

It was a picture-perfect, glorious, early June day at the Town Pier, Brant Rock, Marshfield, MA.  Plein air painting was the goal, which is always plenty of enjoyment, but it was not my only entertainment at the busy dock.   As I was setting up, to my left there was a lobster fisherman loading traps onto his boat.   He was sliding the traps off of his truck trailer, to the retaining wall and onto the boat, which was nearly the same height because of the high tide.     He certainly demonstrated a great way to take advantage of the tide. 

Dinghies at Town Pier - Phase Two

To my right was a Mom who pulled in with her two girls.   The girls wore wet suits and life jackets and without hesitation, jumped into the water which was probably fifty degrees, and swam with glee for an hour.   (They paid me a visit after their swim.)  Right in front of me were two men fishing.   No bites - I don't think, but a fitting addition to the scene.

As for the painting, I framed out the composition with the pier itself, the Green Harbor houses across the water and in the foreground, the dock where several dinghies were tied up.   The blue dinghie sitting on the dock was to be the center of intere

Dinghies at Town Pier - Final

st of the painting, but it got demoted to second place once the white haired guy in the vintage wooden dinghie rowed right toward me.  

Tropical Watercolors Jamaica

Beeline to Purple Spikes

I seriously thought about packing my oils for Jamaica, but elected to again bring watercolors.   They are so much cleaner, and lighter for packing, but as I've noted many times before, I'm not a watercolorist.   Watercolor experts are in a league of their own in my view.   I'll share a few amateur tries today. The colors look a little washed out - see?  I can't get good color! :)

Big Old Leaning Tree - Jamaica

Beach Huts at Dusk

View from my Chair

Open Studio Figure Paintings

Night Float

Yoga in Yellow

Sunny Blue Bikini

Black Bandeau Beauty

Last winter, I participated in an open studio night with live models.   There really is no better way to improve figurative captures than with living and breathing humans.  Similar to landscape, the best way to observe and reproduce accurate color is from life.  Photography is useful for structural reminders, but simply can't deliver precise color.  

The other deficiency of working from photos for people is that the model's typical look or signature smile/expression may not come through in a few photos.   Once you spend three hours observing and talking with a person, there is a much better chance of identifying a feature that makes them unique - especially if the goal is to be true to a realistic rendering.

Phone Check

What is not realistic in the paintings is the addition of the bathing suits and some of the beachy backdrops.  The bathing suit theme provides some modesty for the sensitive readers, like my brother.

Mid-January is upon us - not bathing suit weather - I'm ready for it though!

Lounging

Hanging Under the Apple Tree

Apple Tree

In the four short weeks since I painted this, the scene has changed dramatically!  The apple tree leaves are now dropping and the flowers' bright colors have faded.  At that point I was thinking, oh there is just so much green - too much.   The remedy was to scoop up pink flower pigment and mix it with the predominant greens.   The result was more varied reddish greens for alternating leaves.   This trick is handy for painters who want variation, but need a color that is consistent and harmonious with the rest of the painting. I even put some pink in the grass, just because it looked pretty.    I still may deemphasize the stone wall.   Did you spot that these stones look too blue?

Pond in August

Pond in August

On this August day at the pond, wild things that grow seemed to be peaking.    There was honeysuckle that smelled heavenly, purple spikes that grew from a pond plant that I didn't know, and of course loads of water lilies.   A double trunked tree that leaned over the pond reflected its V-shape in the water.

I was standing on the little dock, and not only did the scene look nice, but the sounds were mesmerizing.  I heard peepers, frogs, birds and the lapping of the waves under the dock.   Could all this sensory stimulation be the reason I used so much paint?   I have actually been using up all the paint on my palette lately.   If you zoom in on this one, you'll see what I mean.   

This painting was very busy - just like the actual view.   I think once back in the studio, I'll established a stronger center of interest and downplay some of the chatter.

Plein Air Painting in Chatham

 

Chatham Dunes

Beautiful Chatham, MA is only a little over an hour from us, yet once we crossed over the Cape Cod Canal, it felt like a distant getaway.   This was a short end-of-summer vacation trip complete with lots of walking, touring, shopping, eating out, and - the bonus, plein air painting.     I painted three paintings over the three days, all of which are shown below.

On the first day after settling in, we sat on the beach for a while watching the incoming fishing boats being chased by seals and swirling seagulls.   The late summer colors were beautiful and subtle and I hadn't planned on painting.  I  figured though, if I gave myself one hour before dinner, I could get a color study done.  The thought was irresistable. The color match was pretty accurate and it may look nicer in person because of all the thick paint.  Chatham Dunes.

Chatham Boat Launch

On day two, we discovered the boat launch scene by using Google Earth.   I could see the kayaks stacked up on the sand and no houses nearby on this bird's eye view.  Sure enough we were able to drive right down to the shore and we had the place to ourselves.   Technology is occasionally great!   We both painted this pristine vista and you can probably make out my husband's figure on the left of the in-progress photo.

Boat Launch with Sand

I had just finished and stepped sway noting with satisfaction that it was just the way I wanted it, when the wind took my whole easel down.    The good news is that the painting landed face up.  The bad news is that - well - see photo. I was not happy and it took me a while to get over it.  I scrapped off the sky completely and decided that a little sand in the sand and grasses was okay!  True plein air after all.

Chatham Silhouettes at Dawn

The third and final painting was done the next morning about an hour past dawn.   The silhouettes of the veranda, chairs and beach house were dark and dramatic against the soft bright sky.    Luckily I worked the sky, ocean and far barrier island first.   I say "luckily" because these elements soon disappeared in the mist.    The up sloping lawn was very green and not a look that I wanted to emphasize.  I left that decision for the studio, and in fact, it soon started to rain.   I was very happy to have gotten a paint-out in at all!

Pink Freesia with White Roses

Although tiny, this little crystal vase is my new favorite.   It is perfectly shaped and looks lovely with miniature blooms from the garden.   I placed it on a small pedestal in a sunny, studio window and prepared to paint.    Shadows from the window grids were cast onto the set up and I was trying to decide if they added or subtracted from the composition.

Pink Freesia with White Roses

"Is there a term for the window grid things?" I asked my husband.   Without hesitation, he blurted "mullion bars."  He said it with an intonation that implied this was common knowledge.    He spotted my doubt immediately and he proceeded to look up the phrase.  Now to me, "mullion bars" is some vague, unknown term.  But expert carpenter/renovator that he is, he further added more terms that also mean window grids, "muntin bar, stiles, grids."     Haha, whatever they are called, they were casting shadows on my still life and the question remained was this good or bad?

I began painting.  The backlit still life had two white rose buds and a small freesia stem.   There was an interesting vase shadow, and within that, a bright refraction from the crystal.    The verdict of those other shadows came easily once I saw how much was going on in this small painting - no extra shadows from the mullion, muntin,stiles, grids or whatever you call them! :)

Roses and Baby's Breath

Pink Roses and Baby's Breath

Could the generous person who visited and brought these fresh pink tea roses have known that I love pink roses?  My bathroom even has a pink roses theme.  What a nice gesture and the perfect subject for a new still life.

These roses were whitish at the base and edged with pretty salmony-pink.   Looking straight down into the throat of the blossom, no white was visible at all, just dark reddish pink.   The baby's breath accented the blooms and the whole bouquet sat in a cute little mason jar.

I could paint a hundred roses and I don't think I would be happy with them on the first go.   I usually have to go back at it and adjust, putting any spontaneity and freshness at risk.   With this small painting, the blooms may be too precise, but the leaves, stems and background are more loose.  Thank you for the pink roses!  Wait, do they look too
red?

Open Studio Figure Drawings in Charcoal

Open Studio 1

Open Studio 2

Have you ever been curious about open studio painting sessions?  This is how it works.   The organizer of the open studio typically contracts with a professional model to pose for a group of painters.   Painters all contribute to the "sitting" fee.    Sometimes the model is clothed, but more often they pose nude.   The organizer and/or group decides on a pose and adjusts lighting to both accomodate the comfort of the model and create interesting angles for the painters.   Many models ask that no photos be taken, but I've also had models allow it and just ask for a promise of discretion and use only in finishing the painting.    A timer is set for a particular duration and when it goes off, the model puts on her robe and gets a break.  The total session is usually three hours.

Open Studio 3

There isn't a huge market for nude paintings, but these sessions are great practice for painters.  It helps to know how the human figure is constructed when inserting figures (with clothing) into a painting.

I was happy with the likeness and the angles of these sketches, although not so much with the way the charcoal sat on the paper (bumps, lines etc.)   On this evening, whenever the model took a break, I moved my easel to a new spot, thus the different angles.  These aren't meant to be finished works, but for me reinforcement of figure basics for use in landscape and otherwise.

Radiant Pink Daisies

Pink Daisy Mums

It's early Spring and there have been plenty of hints that things are starting to sprout.    The buds on the trees are fatter and the rhododendron leaves are green, broad and flat (not shriveled and curled against the cold).  Even still, I haven't yet spotted a crocus - it's been cold.   That is why this gift of pink daisy mums from a good friend was so appreciated.    They immediately demanded to be put at the top of the painting queue, and so here they are in paint.  

Watercolors in Barbados

People on the Beach - Watercolor

I am an oil painter, and oil paint is a very forgiving medium. If I make a mistake or don't like my result, I can easily paint over the mess and mostly salvage the painting.  

Waterlilies in Watercolor

Watercolor on the other hand is, to me, the most difficult medium.   I have the utmost respect for water-colorists that can produce clean, lovely gems that look effortless.   I say all this because I brought my watercolors on vacation and  I don't have much to show for it.   

I tried hibiscus, beach people and a couple of subjects from photos I brought with me.  Shown are the "best" ones.  It was a great trip and although it was hard to face winter again, at least my oil paints are waiting for me!

Sunflowers and Spindles

Sunflowers and Spindles

Midday sunlight pours into my front room from a south window, now that it's late fall.  The angle of the light is much lower and the rays were casting some very interesting shadows.   These warm red and yellow sunflowers were dazzling in the bright light. The wooden spindles of my staircase sat in the background with some petal shadows wrapping around them.   Some sunflowers were just starting to open, others open with curly, transluscent shapes.  It's alwaysa good day when you are painting flowers!

Homestead Ruins & Pasture - Isle of Doagh Ireland

McColgan Farmhouse

In the late 1800’s, two brothers and their respective families lived and worked two side-by-side farms on the Isle of Doagh, County Donegal, Ireland.    One brother’s name was John McColgan and the other’s name was Edward McColgan. 

    

John and his wife Grace had fourteen children.  They lived in the “larger” farmhouse which was also the house where the two brothers had been born and raised.    Edward and his wife Bridget acquired the land next to this original homestead and had eight children of their own.    In late 1898, Edward contracted consumption, a contagious disease that reached epidemic levels in Ireland and Britain at that time.   Today, the disease is known as tuberculosis.  Sadly, his wife Bridget soon contracted the disease as well.   They died within a month of each other in the winter of 1899.  

Four of their daughters and one son, ages 10, 14, 16, 19 and 21 were orphaned.   Their two oldest daughters had emigrated to Boston years earlier, when they had turned eighteen.   Their son Michael Joseph (my grandfather) had also emigrated one year earlier.

  

There was discussion of the siblings staying in Ireland under the supervision of their aunt and uncle next door, but with fourteen children of their own, John and Grace were likely unable to support five more.  Hence in 1900, the five siblings travelled together to Boston and settled in with their older siblings. The younger daughters moved in with their older sisters, each of whom were married at that point.  One daughter enrolled in nursing school at Massachusetts General Hospital.

As for the property owned by Edward and Bridget, it was sold to a cousin who continued to farm the fields but let the house fall to ruin.   The original farmhouse still stands and is in good condition.   In fact, it was getting a new thatched roof during our visit.   If you Watch The Video, it is the neat little white farmhouse with the red doors.

Donegal Homestead

Maybe you can imagine the feeling I had as I stood on the cart path just above the two homesteads, one farmhouse still standing and the other, barely recognizable ruins.  I had a tingly feeling to think that this was the land of my ancestors, where they lived, worked and died.  The sheep and cattle were probably of the same lineage through the years. Why, even the wild raspberries I sampled were probably the same as those eaten by the family.     Spirits of the past!   This visit and paint-out may have been the most gratifying of all.   I’m hoping the deep rich crimson darks and vivid green lights of the land shine through.

Westport Cove View - Ireland

Westport Cove - Color Study Final

The waterfront at Westport was one of my favorite spots for scenery in Ireland and we visited three times.  I chose a scene with this rustic boathouse on an beautiful inlet.  I later learned that what Motif #1 is to Rockport, MA, this painting scene is to Westport Harbor.   I got down in the mucky low tide to capture the scene I wanted.   The boathouse was stunning, especially its red roof, but the decrepit turquoise boat in the foreground was my favorite element.  It's great when an element is so decayed that a rough stroke with a palette knife is just the thing that makes it come alive.

Croagh Patrick from Murrisk Island - Westport Ireland

Westport River Channel

Our next stop in Western Ireland was Westport.   Similar to previous days, it started out sunny, but the clouds eventually took over, producing rain, then the sun came out again.   The town itself was beautiful with the river channel passing through the middle. There were arched stone bridges that crossed the river in several places, and these were adorned with lush flower boxes and blooms hanging down nearly to the water.  I didn't actually paint in town, but these scenes were gorgeous and I hope to paint a scene or two from the photos as I build up the Ireland painting collection. 

Croagh Patrick from Murrisk Island

Climbing Croagh Patrick, about 5 miles from us was on the agenda, and I will state right up front, it didn't happen (for various reasons, one of which was the rainy forecast).   The peak is one of the larger mountains in Ireland and is most well known because pilgrims (some barefoot) climb to the summit Chapel as an act of penance.  Historical accounts describe this sacred place as the mountain where Saint Patrick fasted and prayed for forty days in the year 441 A.D..  The peak is clearly visible from most of the Westport area and since we didn't actually climb it, I figures it would be wholly appropriate to pay homage via this painting.

We set up to paint about a mile from the trailhead on a small connected island, home of the fishing village called Murrisk.   Careful observation of the mountain revealed figures of climbers - small specs - silhouetted on left side of the slope.   It was very windy on this day.   My husband wisely chose a spot behind a wall and benefited from his wind blocker.  I chose a higher vantage point and paid a price, my biggest obstacle being my inability to keep my brush steady.     What colors!  Every shade of green, but also, reds, purples, golds, yellows...and even better when the sun peaked out!

Click here to see my view while I painted.

Dingle Harbor View - Ireland

Dingle Valley Greens

We had planned a whole day of exploring the Dingle Peninsula.  We left sunny Killorgen early and as we made our way toward Dingle Bay and drove through the valley, I saw the greenest greens I have ever seen!  It was a classic vista of green pastures and easily one of the ten most beautiful spots I have ever seen in person.   Yes, it would have been great to paint there, but due to the narrow, busy road, it was not conducive to safety or quiet.  We settled for stopping and getting a nice long look; perhaps a future studio painting!

Dingle Harbor View - Painting and Scene

When we arrived in Dingle Harbor, we walked around a bit both for touring and for deciding on a place to paint.   There were lots of choices and the bustle of the town area with its colorful buildings was enticing. 

Dingle Harbor

We noticed a long walking path and green space from with the whole span of the colorful town was visible, and that was where we set up.    This scene was an ambitious undertaking and as it turned out, actually took nearly three hours instead of the usual two hours.

"Painterly" is a word that describes a painting style in which the paint is applied in a way that is not realistic, but gives the essence of a scene through the colors and brushstrokes.   This painting is an example of a more painterly approach.   An honest, untrained eye might call it messy! :))