Wooden Wonder - Powder Point Bridge

 

Wooden Wonder - Powder Point Bridge

 

 Red sky at night, sailors' delight...

It's not quite red but the thick overcast was giving way to clearer skies, and setting sun was catching the underside of the cloud bank at the Powder Point Bridge.   This marvelous bridge is special to many on the South Shore of Massachusetts.  It's unique length and structure has made it into documentaries and movies over the years, and of course, it is a favorite of photographers and painters.

The bridge is, in fact, the longest wooden bridge in the United States at 2,200 feet.  When the original bridge was built in 1892 it subtracted seven hours of travel from the trip from Duxbury Center to the Gurnet which is at the furthest tip of Duxbury Beach.  The bridge has been a topic in this blog several times if you'd like to know more and see my past paintings of it.

This painting is large at 18x36 which makes it the perfect living room piece for "over the couch."

Stetson Woods River View

Stetson Woods River View

Less than two miles from home, we found a new set of trails that are "hidden" behind an old cemetery.  Thanks to online maps, we discovered that there are many woodland areas along the North River in Marshfield.  We've walked four trails so far, my favorite an area called the Stetson Woods.   It actually has a riverside beach (tire swing and all) and a large picnic area.   Of course since it was December, we didn't meet another soul, never mind swimmers or picnic people. 

This painting depicts the northernmost edge of the woods where the marsh opened up wide to reveal the North River snaking beyond.   The expansive marsh was bright gold, but the shadiest spots were dark and frozen.    Tall marsh grasses and cattails help the composition by bridging deep shadow and bright winter light.

This painting took a while as it measures 24" x 30".

Christmas Tea Pot

Christmas Teapot

With Christmas decorations all around, setting up a still life was relatively easy.    My Christmas teapot, given to me a long time ago by my mother usually gets a lot of use during this season, but this year it remains on display for painting reference purposes.  It sits next to my shell angel, gumdrop sticks and ornaments.

I hope you are enjoying all of your traditional decor in your homes, and the fond memories that they bring!

Boston Harbor Grand View

This painting was a very large undertaking and now, after working on it for three years, it is "critique-ready".

The expansive scene depicts Boston Harbor from the fifth floor of the Boston Harbor Hotel.   This venue is a personal favorite, but not a place where we, or most, can often afford.   The painting depicts a busy summer vista; you name it - it's happening. On the water, along the shore and even overhead there is movement and action.   At water level, there are ferries, schooners, sailboats, tugs and tankers.   Along the water's edge the World Trade Center, several hotels, the Moakley Federal Courthouse, and lavish waterfront residences are visible.  In the distance is Logan Airport with jets lifting off every two minutes.   

"I really ought to tackle this scene in paint," I had declared on more than one occasion.  I remember being mesmerized at the hotel window trying to take it all in. It would have to be a large painting and in my old studio, I barely had room to work on it.  When I did put it on the easel, there wasn't space to work on anything else - how mundane.   In the new, larger studio, I have the space and I was able to dedicate a corner for this project and still be able to work on other creations.

The most challenging part of this project was assembling all the reference material.  I used several pictures of the harbor, covering this wide expanse.   The dome-topped pavilion became my measuring unit for sizing the many pictures involved.

The lighting scheme is late afternoon and there were tropical shower clouds drifting in from the northwest.   I am open to feedback, good, bad or otherwise!

Boston Harbor Grand View

Pumphouse

Pumphouse - Duxbury Bogs

Unless you are a person who hikes local trails regularly or studies maps, you could never imagine how many cranberry bogs dot the Southeastern portion of Massachusetts.   Many bogs are no longer active, and slowly they become bird paradise.   Those that are actively worked and harvested resemble neat weed free crimson carpets.

I love spending time there painting and if you search this blog's labels for cranberry, you will find many paintings that feature local bogs.  The reasons are many - wide open space with lots of light, nice deep red color even in winter, and the high likelihood of spotting wildlife.

This pump house sits between two bogs in Duxbury and on this December day - post cranberry harvest- there were still plenty of fruits piled up along the edges of the bog, in contrast to the deep blue sky.

Aaah - Vacation

Aaah ... Vacation

This patio is a beautiful spot especially in the morning. The arbor juts out to the west from the house, the perfect place to be for a summer vacation morning.   The July greens are lush and moist and the tendrils of the vines stretch for sunlight above the arbor, and things a blooming. 

This is a large painting that was executed in several steps because of all the architectural elements. It was more work than most, which is ironic because the theme of the scene pays homage to doing sweet nothing!

That's not me, by the way. :)

My Favorite Loop

My Favorite Loop in Progress

The Norris Reservation in Norwell, MA is a gorgeous open space that is now designated as a land preserve by the The Trustee's of the South Shore.   I set up for this painting along a beautiful trail that abutted a pristine pond.  There were so many choices for the scene, but what grabbed me about the spot I chose were the spots of sunlight cast on the trail itself.   Every so often someone would emerge from the sunny distance and walk toward me.   This woman stood out as she walked her beautiful black and white dog along their favorite loop.

My Favorite Loop

Raising the Flag II

Raising the Flag II

These Marines carefully raised this large American flag on a massive flagpole supported by steel girders.   No part of the flag ever touches the ground and it immediately balloons out and up, catching the first breezes of the day.   As it unfurled I thought about how beautiful and symbolic a brand new flag is, especially in the yellowish-pink morning light.

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Mid-June Morning in Green Harbor (aka Summer Serenity)

Summer Serenity - Green Harbor

Dawn occurs when the sun breaks the horizon; everyone knows this.   What dawned on me a couple of years after moving to Green Harbor was that the location of daybreak is vastly different between early summer and six months later - early winter.    In June, it seems like the sun is practically rising in the north and similarly in winter, the sun breaks the horizon line far to the south over Duxbury Beach.  This painting depicts a mid-June morning in which the sun has been up for a couple of hours, yet still hovers due east from our beach.   The colors in the clouds and water are tinged with spectacular pinks, turquoise and lavender, and the darker water to the right and left is a grey-blue.   The sun is poking through clouds and rays of light cast extra sparkles and glare,  but yet is not quite high enough to fully illuminate the boulders and sandy shore.  

I've heard it said that the French Riviera has similar light to Green Harbor.   And let's face it, if they said it, it must be true!

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Dispersion

Dispersion

Assembling and arranging the elements in this painting exercised my improvisation skills.   Dispersed were the feminine forms, negative spaces around the forms and the linear and geometric shapes.  

The random shapes of the billowing white chiffon of the woman in the foreground contrasted with the angular background but connected with the splash of light on the background figure's platform.   Although there was ambient light in the studio, the nude model in the background had an overhead spotlight, while the chiffon model faced a 45 degree angled light.  Dispersion of a sunbeam through a window prism cast a spectrum too, a rainbow spectrum.

The beauty of the figure and the challenge of painting it can't be compared to anything else for a painter.   The portrait never seems done, as in this scene with two models.

Twirling Ribbon and Little Pumpkins

Studio Set Up Little Pumpkins

In late summer, painters sometimes lament that there is just too much bright green in the landscape.   We look for any other color than green and play that color up - to the extent possible anyway.   This year was different;  the lack of rain in New England has had an impact on the look of the landscape and the amount of green.   The tips of the leaves have prematurely turned a dry yellow.  Even the sound of the landscape is dry and "rustling" instead of moist and quiet.  

In the vegetable garden, the watering restriction has affected the amount and size of the tomatoes.  We didn't get too many tomatoes, like most years!

Monochromatic Underpainting

The pumpkin variety I planted seemed to thrive despite the arid conditions.   These pumpkins were not the monster-sized, county fair type pumpkins that require lots of water, but rather, the small ornamental variety called "Jack-Be-Little."   Approximately twenty-five little pumpkins were harvested from a mere six plants. I decided to set up a still life with several of these little fruits.

Twirling Ribbon - Stage Two

Using a larger 22 x 28" canvas, it was important to plan out the composition carefully. This still life plays up a complimentary scheme of orange and blue.   What would look nice with a bunch of little orange pumpkins?   Blue things, of course.  A rustic blue pottery vase, a clay pot, blue hydrangeas and a spool of blue ribbon were the elements that seemed to harmonize.    Several set-ups were attempted and rearranged before arriving at this arrangement.  A monochromatic block in was completed first.  In the stage two photo, see the mid-tones, some blues and oranges.

I applied a transparent dark wash onto the bare canvas.  The monochromatic stage photo above shows the wipe outs that established the structure of the painting.   This stage was worked over the course of two days while the transparent wash was since workable.

Since this was a studio still life, the painting method used was "indirect."   The indirect method means many thin paint layers of paint were built up over time to achieve a luminous glow that resembles a classical realist look.

Stage Three with Real Bittersweet

Once the painting was at Stage Three, it needed something more.   I placed the painting on the floor and positioned a length of fresh bittersweet over the front of an awkward area in the middle of the painting.   I liked it how the bittersweet masked the "not so great" spot, so I painted it in as a way to unite the two sides of the still life.  Over the next few weeks, additional layers were built up warm glow to the lights and blue glow to the shadows.   The complete, or at least nearly complete painting is shown.

Twirling Ribbon and Little Pumpkins

The last issue to address with a luminescent painting like this is capturing a quality photograph.   The extra oily glow makes it difficult to get a good, shine-free image.  A polarized filter and low light setting helps.    This image isn't too bad, but I'll probably work on getting an even better image.


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Finishing Up June's Blooms - aka "The Potting Bench"

Stage One - Underpainting

Stage Two

My love of gardening is second only to painting although painting claims most of my time. Combining the two seemed logical as I set up this still life of a potting bench.   Last month I shared the foundation stages of this large still life painting (22"x 28") and work on it continued.

A long critical look at the version shown (Stage Two) and decided to make a few changes.  The circular armature was working but I thought it would be better to reinforce this flow with the addition of well-worn gardening gloves and my pruning sheers.    Where should the gloves be placed?  How should the sheers be angled.    Finding an acceptable arrangement took some playing around.   Then the question became, what would the hierarchy of the elements be?   Depicting everything with equal attention and importance weakens the painting as a whole.    The circular flow I was trying to achieve could be undermined by an ambiguous hierarchy.   In the end, I decided on the following order of importance:

The Potting Bench

1. roses   (lightest lights and most intense color)
2. pruning sheers  (sharp lines, and some vibrant color, but in a middle value)
3. gardening gloves (human hand shape - naturally gains attention)
4. jute (falls on the path of the counterclockwise circular armature)
5. watering can (sits back, very little light, blends in with background, hints of highlights)
6. clay saucers (muted and dark)
7. under-the-bench clay pots  (dark and not part of the armature, ie the last thing to get noticed)

This painting will be my submission to this year's Boston Guild of Artists Juried Competition.  I also changed the name to "The Potting Bench."    I'll let you know if it gets in!

June's Blooms Phase One

Potting Bench - Transparent Wash Stage

It was June and these beautiful blossoms came from my garden.  We have had some picture perfect weather lately which has spared the bushes from the harsh wind and rain that can shorten their life cycles.    So there are plenty of flowers to paint!  This still life included two vases with pink roses clustered, a clay pot of blooming pink kalanchoe, my watering can, some well worn gardening gloves and pruning sheers completed the set up.  The height of the set up suggested that a portrait aspect would work better than landscape.

Potting Bench - Upper Element Needed?

For stage one, I applied a warm transparent wash with a mop brush, mapping in the set up.  I carved (wiped) out the areas that would be lighter with a paper towel.   This stage had a subdued, antique feel that I really loved; why it could be called a finished painting if that was the look I was after.   However, my goal was to create a fully developed, thickly painted canvas of blossoms, so the subdued style would have to be another day.


I began the second stage by applying mid-tones for roses and leaves.   After adding each supporting element, I used a clean mop brush to buff out the edges.  Believe it or not it seemed more difficult to decide how to handle the negative space than the subject matter on this one.   A larger canvas means more space for interesting objects and shadows.   I decided to place hints of clay pots under the potting table and a fringe of greens behind the primary blooms.

This is a 22x28 inch canvas so progress has been somewhat slow, so I consider this one still in progress.   To be continued...

Graves Light

Stage 1 -Composition and Layers for Water

I have always been fascinated with the Boston Harbor Islands.   As a native Bostonian, there was always something mysterious about these land masses just off the shore from the city.   I've now visited several of them and have decided to start working them into some paintings.

This large, studio painting was developed from a photograph that I took in March. My late afternoon flight had swung out wide and to the east of Boston's Logan Airport affording amazing views of the Boston Harbor Islands.    The amount of snow cover was unprecedented well into spring, and was quite evident from the air.  (...just a distance memory now.)   Snow and ice clung to the harsh and rocky shore of Grave's Light and the lack of much color emphasized how barren and inaccessible this island is (now privately owned).


Stage 2 -More Water Layers and Foam

I played with the cropping of the photo to get a strong layout.   It is sometimes good to have the darks interconnect across the canvas.   Perhaps it gives a strong "groundedness" to the scene.   Is this true even though the subject is an island? Yes; I think so.  At least I hope so!

No excruciating detail on how this painting was developed because there was a lot to it.   I will just mention that the water was not painted in an "alla prima" or "direct manner."    Rather it was done using an indirect method of building up many layers of transparent darks over a few weeks.    The brushwork echoed the pattern of the ocean swells.  Within the swells there was chop which was handled in some of the subsequent layers.  By repeating the process of layering/glazing the water, the hope was that a complex undertone effect would be achieved, giving the effect of deep ocean water. 

The lack of light, except for the lighthouse, some seaspray and the tops of the rocks made it more dramatic, but it also means this has to be hung in a well lit location.   

Graves Light

Market Square

A few months ago, I put a sharp corner of a framed painting through the middle of a large (30 x 48 inch) in-progress painting.   I may have shared that sad story back when it happened?   I pulled the ripped canvas off the stretcher bars, sized up a nice new length of gesso'd linen, and stretched it again.   I toned it with a mid-value neutral color.  That was several months ago - and there it sat.    The weather was nice as a plein air painter, I enjoyed plenty of beautiful days outside.


Market Street - Stage One


As soon as the temperatures started to cool I turned my attention to the studio.  I placed the BIG blank canvas on it.   I wanted to start planning out this large studio work.  I had the urge to include every attractive element I had been painting or photographing in the past few months. 



Market Street - Stage Two

What would that include?   Rustic buildings, stone walls, Irish farmhouses, festivals full of color, sunlit boats with pretty reflections, seals sunning themselves, bees buzzing around my pink and yellow zinnias, fireworks, city skyline.  Very exciting! This was the brainstorming phase of composing the piece.   I guess I could have jammed in all the attractive elements I had been envisioning, turning it into a fantasy painting, but realistically I needed to decide on a theme.

I did some sketching and printed a few of my favorite festival and marketplace photos, assembling a horizontal collage of scenes that were attractive to me.   I worked on building up a dark and light pattern that was appealing.    I wanted a "random - but planned" series of "lightest lights."    

Even as early as Stage One image above, the abstract dark and light pattern is visible.   The warm afternoon light highlights the old village buildings and market umbrellas.  The light spilled over onto the street, giving the illusion of a bright glare.   The stone archway on the left framed the bright light of the next alley over.   The shadows would be cool and blue, but not too dark.   Generally, even the shadow areas of a cityscape with bright warm light benefits from the reflected light.   The light tends to bounce around and provide ambient light even to the shadow areas.   (Photographs do not record this reflected light by the way - that's why "from life" painting is so much better!) The color temperature scheme (warm light and cool shadow) and the shadow directional scheme (late afternoon backlighting)  would be important supporting information.

Sunlight String

This painting has been on and off the easel for four months so there were several stages of progress.   I won't share them all but one thing I did was to use a sun string to guide the direction of my sunlight.   I attached a long piece of wood so that it pointed high up above the large canvas.  I tacked a long piece of string to the top of the wood.    As I painted the lighted areas, I stretched the string tight and that showed the angle of the rays of light coming from my "pseudo sun" at the top of the wood.   I wish I took a better photo but in the narrow photo, the wood and the string are somewhat visible.   This method would be useful if you aren't painting on site, or if you were on site but the light changed dramatically before packing up.



Market Square

I guess I like the anonymity of the figures.   I also love the idea of supporting the growers, buying their fresh products and turning that into a culinary comfort for their family. So where is market square, who are these people and why two thoroughfares?