Viðey Island and Beyond

Viðey Island and
the Mountains Beyond

looking across Reykjavík Harbor, Iceland,
on June 28, 2021, painted on June 29, 2021
7" x 5" (w x h), Daniel Smith, Schmincke Horadam, and
Winsor & Newton watercolors, selected for light fastness
and permanence, and Icelandic water, on 140 lb.
Fabriano Artistico cold press rough 100%
cotton extra white watercolor paper
framed, $150

Stonington's Iconic Green Head

Stonington's Iconic Green Head

seen from the Dockside Bookstore's Dock,
Stonington, Maine, painted plein air July 7, 2021
14" x 11" (w x h), Daniel Smith, Schmincke Horadam,
and Winsor & Newton watercolors, selected for light fastness
and permanence, and Uniball waterproof fade proof ink
on 140 lb. Fabriano Artistico cold press rough 100%
cotton extra white watercolor paper
framed, $500

Seaside Forms

Seaside Forms

at Green Head in Stonington, Maine
painted plein air on July 6, 2021
8" x 10" (w x h), Daniel Smith, Schmincke Horadam,
and Winsor & Newton watercolors, selected for light
fastness and permanence, on 140 lb. Fabriano
Artistico cold press rough 100% cotton
extra white watercolor paper
framed, $300

When Seaside Houses...

When Seaside Houses

Pop Up and Down

in Stonington, Maine, painted plein air on Church Street, July 6, 2021 19" x 13" (w x h), Daniel Smith, Schmincke Horadam, and Winsor & Newton watercolors, selected for light fastness and permanence, and Uniball waterproof fade proof ink on 140 lb. Fabriano Artistico cold press rough 100% cotton extra white watercolor paper framed.
$700

Dock Waiting

Dock Waiting

at Green Head, Stonington, Maine
painted plein air July 7, 2021
8" x 10" (w x h), Daniel Smith, Schmincke Horadam,
and Winsor & Newton watercolors, selected for light fastness
and permanence, and Uniball waterproof fade proof ink
on 140 lb. Fabriano Artistico cold press rough 100%
cotton extra white watercolor paper
framed, $300

Boat Boat Rock

Boat Boat Rock

in the east harbor at Stonington, Maine
painted plein air on July 7, 2021
10" x 8" (w x h), Daniel Smith, Schmincke Horadam,
and Winsor & Newton watercolors, selected for light fastness
and permanence, and Uniball waterproof fade proof ink
on 140 lb. Fabriano Artistico cold press rough 100%
cotton extra white watercolor paper
framed, $300

Stonington Seaside Shapes

Stonington Seaside Shapes

seen from Church Street in Stonington, Maine, painted plein air on July 6, 2021, 14" x 11" (w x h), Daniel Smith, Schmincke Horadam, and Winsor & Newton watercolors, selected for light fastness and permanence, and Prismacolor waterproof fade proof ink on 140 lb. Fabriano Artistico cold press rough 100% cotton extra white watercolor paper framed.
$500

The plein air set up on Church Street.

Sun Dropping by Sand Beach, Stonington

Sun Dropping by
Sand Beach, Stonington 

in the early evening in Stonington, Maine
painted plein air on July 6, 2021
8" x 10" (w x h), Daniel Smith, Schmincke Horadam,
and Winsor & Newton watercolors, selected for light fastness
and permanence, and Uniball waterproof fade proof ink
on 140 lb. Fabriano Artistico cold press rough 100%
cotton extra white watercolor paper
framed, $300

Evening Home

Evening Home

in the east harbor at Stonington, Maine
painted plein air on July 7, 2021
10" x 8" (w x h), Daniel Smith, Schmincke Horadam,
and Winsor & Newton watercolors, selected for light fastness
and permanence, and Uniball waterproof fade proof ink
on 140 lb. Fabriano Artistico cold press rough 100%
cotton extra white watercolor paper
framed, $300

Likely That Marin House Study 1

Likely That Marin House Study 1

looking down School Street in Stonington, Maine,
based on a John Marin 1924 watercolor
painted plein air on June 30, 2021
10" x 8" (w x h), Daniel Smith, Schmincke Horadam,
and Winsor & Newton watercolors, selected for light fastness
and permanence, and Uniball waterproof fade proof ink
on 140 lb. Fabriano Artistico cold press rough 100%
cotton extra white watercolor paper
framed, $300

Inspired by:

Deer Isle, Stonington, Maine, No. 10
John Marin (1870-1953) American
Watercolor, charcoal, and pencil on paper,
18" x 15" (w x h), 1924
For sale: $140,000 USD

The plein air setup on the steps of the staff entrance to the Opera House, June 30, 2021.

Likely That Marin House Study 2

Likely That Marin House Study 2

looking down School Street in Stonington, Maine,
based on a John Marin 1924 watercolor
painted plein air on June 30, 2021
10" x 8" (w x h), Daniel Smith, Schmincke Horadam,
and Winsor & Newton watercolors, selected for light fastness
and permanence, and Uniball waterproof fade proof ink
on 140 lb. Fabriano Artistico cold press rough 100%
cotton extra white watercolor paper
framed, $300

Likely John Marin's 1926 School Street View in 2021

Likely That Marin House Study 3

Likely That Marin House Study 3

looking down School Street in Stonington, Maine,
based on a John Marin 1924 watercolor
painted plein air on June 30, 2021
10" x 8" (w x h), Daniel Smith, Schmincke Horadam,
and Winsor & Newton watercolors, selected for light fastness
and permanence, and Uniball waterproof fade proof ink
on 140 lb. Fabriano Artistico cold press rough 100%
cotton extra white watercolor paper
framed, $350

New Art - Bruce Collection - Home Farm

~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~
New Art in the Bruce Collection
below...

1
In late October and early November 2018, I participated in the Brandywine Plein Air Festival, Pennsylvania, along with four other Maine artists, all friends. I enjoyed the autumn, my painting gear at the ready in my Ford Focus, seen here looking down from my hosts third-floor window. Little did I know the my Focus hood would have a new focus.

2
On the last painting day, November 1st, I was sketching a small watercolor in the parking lot of Winterthur Museum, Garden and Library in Winterthur, Delaware, where we were to leave our paintings for the show. Carol Douglas from Rockport, Maine had finished her painting for that day, and needed a flat place to frame it. My car's hood was perfect. And a few fresh oil paint smudges on the hood, easily wiped off.

3
Once the show was hung, we were each asked to submit one of our paintings for judging. While Carol was musing, I passed by and of course was partial to the one from my car's hood. But it truly was more than that. It stood out. And Carol, still not so sure, chose that one, and it was the Honorable Mention Winner with a cash award. Of course, I was thrilled.

Until July 8, 2021 it was still with Carol, when I was driving south from Stonington and stopped to say hello and peruse her gallery, and now it's part of my collection. I'm so proud to have this museum quality painting of Carol's in my collection. It's not only a painter's painting but it's a viewer's painting as well.

4
Home Farm
Carol Douglas, American
Oil on canvas, 20" x 16" (canvas art)
22.5" x 18.5" (framed) (w x h), 2018
Honorable Mention, Brandywine Plein Air Festival, 2018
Painted November 1, 2018, on the grounds
of Winterthur Museum, Garden and Library
(the former duPont Estate), Winterthur, Delaware

Why do I keep looking at this painting? Its simplicity is beguiling with the sure, smooth, broad brushstrokes. The strong geometric shapes define simplicity, form, and mass, their darks and lights adding depth. That brush stroke sky with the whitest cloud pulls my eye over the farm shapes, while that same long bright cloud's angle aligns with the field's brightest horizon angle, both leading my eye to the farm. The balance of the sky blue at the top right and the field in the bottom left, is one of those fine attentions to detail. And then there's that small sharp light yellow field highlights, perfectly placed to keep my attention on the farm. Plus, a hint of autumn color in the distance never overwhelms the painting, thus adding to it. I find myself intrigued by the shapes of blue in the sky and the broad stroke colors of the field.

And the final touch is the oil paint that was left off the canvas, keeping the Home Farm simple, that paint long ago gone from my Ford Focus hood.

It's easy to see why the judges chose Home Farm as a winner.

Why do you keep looking at this painting?

My friend Carol's art web blog Watch Me Paint is HERE.

Stonington Seaside Motion

Stonington Seaside Motion

alongside Sand Beach Road in Stonington,
Maine, painted plein air on July 5, 2021
7" x 5" (w x h), Daniel Smith, Schmincke Horadam,
and Winsor & Newton watercolors, selected for light fastness
and permanence, and Uniball waterproof fade proof ink
on 140 lb. Fabriano Artistico cold press rough 100%
cotton extra white watercolor paper framed, $150

The plein air setup, my car in the distance.

A beautiful day for watercolor painting plein air.

Stonington Spruced Up

Stonington Spruced Up

looking across the harbor in Stonington, Maine, painted plein air on June 28, 2021, 5" x 7" (w x h), Daniel Smith, Schmincke Horadam, and Winsor & Newton watercolors, selected for light fastness and permanence, and Uniball waterproof fade proof ink on 140 lb. Fabriano Artistico cold press, rough 100% cotton extra white watercolor paper, framed,
NFS

Up and Down in Stonington

Up and Down in Stonington

with the view from Church Street, Stonington, Maine, 
painted plein air June 30, 2021
10" x 8" (w x h), Daniel Smith, Schmincke Horadam,
and Winsor & Newton watercolors, selected for light fastness
and permanence, on 140 lb. Fabriano Artistico cold press
rough 100% cotton extra white watercolor paper
framed, $300

Stonington House Lines of Sight

Stonington House Lines of Sight

as seen from Church Street in Stonington, Maine,
painted plein air June 30, 2021,
10" x 8" (w x h), Daniel Smith, Schmincke Horadam,
and Winsor & Newton watercolors, selected for light fastness
and permanence, on 140 lb. Fabriano Artistico cold press
rough 100% cotton extra white watercolor paper
framed, $300

That Stonington Blue House Study 1

That Stonington Blue House Study 1

in Stonington Maine painted plein air June 24, 2021 7" x 5" (w x h), Daniel Smith, Schmincke Horadam, and Winsor & Newton watercolors, selected for light fastness and permanence, and Uniball waterproof fade proof ink on 140 lb. Fabriano Artistico cold press rough 100% cotton extra white watercolor paper, framed.
$150 / Private Collection

The Plein Air Setup

That Stonington Blue House Study 2

That Stonington Blue House
Study 2

in Stonington Maine painted plein air June 24, 2021
10" x 8" (w x h), Daniel Smith, Schmincke Horadam,
and Winsor & Newton watercolors, selected for light fastness
and permanence, and Uniball waterproof fade proof ink
on 140 lb. Fabriano Artistico cold press rough 100%
cotton extra white watercolor paper
framed, $300 - NFS - Gifted

The Plein Air Setup

That Stonington Blue House Study 3

That Stonington Blue House
Study 3

in Stonington Maine painted plein air June 24, 2021
7" x 5" (w x h), Daniel Smith, Schmincke Horadam,
and Winsor & Newton watercolors, selected for light fastness
and permanence, and Uniball waterproof fade proof ink
on 140 lb. Fabriano Artistico cold press rough 100%
cotton extra white watercolor paper
framed, $150

The Plein Air Setup

Porter's Stonington View

Porter's Stonington View
91 Years Later

based on Fairfield Porter's 1930 Harbor View painting, close to
his same view since the buildings have changed, this view
from Ruth Yeazell's porch in Stonington,
of the once Central Garage, now art gallery,
painted plein air June 28, 2021
10" x 8" (w x h), Daniel Smith, Schmincke Horadam,
and Winsor & Newton watercolors, selected for light fastness
and permanence, and Uniball waterproof fade proof ink
on 140 lb. Fabriano Artistico cold press rough 100%
cotton extra white watercolor paper
framed, $300

Harbor View (Central Garage)
Fairfield Porter (1907-1975) American
Watercolor on paper, 1930
Sotheby's 2015 April auction, Sold: $10,625 USD
Auction estimate: $2,000 - $4,000 USD
This was painted early in Fairfield Porter's career when he was 23-years-old.

A Fairfield Porter Gallery

A Fairfield Porter Gallery
Later Work in Maine (1972-1975)
3 Watercolors and 3 Oils

Fairfield Porter spent the seasonal warmer months of his life at his family's home on Great Spruce Head Island, Penobscot Bay. He said, "I've been to Maine almost every summer since I was six. It's the place where, most of all, I feel myself, to belong." (Fairfield Porter's Maine, Southampton, New York, 1977)

Fairfield Porter mused, "When I paint, I think that what would satisfy me is to express what Bonnard said Renoir told him: 'Make everything more beautiful.'"

The first painting below was painted the summer of 1975; he passed that September at 68-years-old. All six below were painted the last three years of his life, from 62 to 65-years-old.

1
North Point
Fairfield Porter (1907-1975) American
Watercolor on paper, 12" x 16" (w x h), 1975
Private collection

2
North Point No. 1
Fairfield Porter (1907-1975) American
Oil on board, 14" x 16" (w x h), 1972
Colby (College) Museum of Art, Waterville, Maine

3
Maine Landscape
Fairfield Porter (1907-1975) American
Watercolor on paper, 14" x 11" (w x h), 1973
Colby (College) Museum of Art, Waterville, Maine

4
High Tide
Fairfield Porter (1907-1975) American
Oil on board, 18" x 22" (w x h), 1973
Christies October 2020 auction sold: $162,500 USD
Auction estimate: $100,000 - $150,000 USD
Source: The Art of Fairfield Porter by K. Moffett, exhibition catalogue, Boston, 1982:
Portraying the rocky shore and coastal islands of the area, High Tide of 1973 reflects the artist's personal connection with the Maine landscape, while exhibiting the more abstracted aesthetic of his later works. Reducing and simplifying the landforms, what remains is a pure representation of his surroundings. As in all of Porter's best works, High Tide delights in exploring the line "between a reaction to natural light and a search for invented color."

5
From North Point
Fairfield Porter (1907-1975) American
Watercolor on paper, 1973

6
The Tender
Fairfield Porter (1907-1975) American
Oil on canvas, 30" x 28" (w x h), 1973
Sotheby's December 2009 auction sold: $590,500 USD
Auction estimate: $150,000 - $250,000 USD

About Fairfield Porter
Source Wiki and Mary Ryan Gallery, (edited):
Fairfield Porter (1907-1975) was an American painter and art critic. He was the fourth of five children of James Porter, an architect, and Ruth Furness Porter, a poet from a literary family. He was the brother of photographer Eliot Porter and the brother-in-law of federal Reclamation Commissioner Michael W. Straus. Porter did not gain notoriety until later in his career, making most of his major works during the last two decades of his life. His first solo show opened at Tibor de Nagy Gallery in 1951. He was also a respected art critic and poet, writing for such publications as Art News, Arise, The Nation, and the Partisan Review. An artist of wide intellectual interests, Porter was a friend of many younger contemporary artists, such as Alex Katz and Larry Rivers, and modern poets Frank O'Hara and James Schuyler.

He studied art history at Harvard University before moving to NY in 1928 and enrolling at the Art Students League in New York, where he studied with Thomas Hart Benton. Throughout his career, Fairfield Porter was both praised and criticized and for continuing his representational style in the midst of the Abstract Expressionist movement. His subjects were primarily landscapes, domestic interiors and portraits of family, friends and fellow artists, many of them affiliated with the New York School of writers. Many of his paintings were set in or around the family summer house on Great Spruce Head Island, Maine and the family home in Southampton, New York. Though he favored the watercolor medium early and late in his career, he made pencil and ink drawings and painted in oils throughout his life. His painterly vision, which encompassed a fascination with nature and the ability to reveal extra ordinariness in ordinary life, was heavily indebted to the French painters Pierre Bonnard and Édouard Vuillard.