Friday Night Art Walk Familiarity

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Friday Night Art Walk Familiarity

For the First Friday Art Walk in Rockland Maine, August 5, 2022, Main Street is closed to traffic. I stroll by the Strand movie theater with its 1950s marquee where I'd seen fine artist Connie Hayes give an illustrated talk only a few years ago, and many years ago in the early 1970s I'd come off McGee Island, where I was the caretaker, for the evening to see The Sting.

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In the Farnsworth Museum I'm moved by the fabulous and extensive exhibition up for the rest of this year of my friend, Ashley Bryan. There are photos of his home and I am transported back to my visits, going over his books. I still have all of his eloquent handwritten letters. And to see his joyous paintings makes my heart soar. The exhibit truly captures the positive essence of Ashley, and I can hear his voice. See the Museum posting of this HERE.

In the next room I view Andrew Wyeth works, tempura and watercolors. About fifteen years ago I happened upon Andrew in this room, just the two of us, and we chatted about Walt Anderson, his lifelong Port Clyde friend and model, and my friend on the dock every time came ashore from McGee Island. Walt always checked on and commented on my son Brett's height since the last time we'd come ashore. And here's Walt showing up in a painting again.

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Family Picnic
Andrew Wyeth, (1917-2009) American
Watercolor on paper, 1939
Farnsworth Museum Rockland, Maine

At Little Caldwell Island in Port Clyde, left to right, Carolyn Wyeth, Ann Wyeth McCoy, Betsy James (his future wife), N.C. Wyeth, and Walt Anderson.

Boating to and from McGee Island, I used to pass by Little Caldwell in the distance. It was the 1970s and sometimes I see Andrew in the distance on an island painting.

Looking back at his early years painting in Maine, Andrew Wyeth recalled, "I did as many as six watercolors a day and might get one or two that came off." I identify with Wyeth's approach to watercolors.

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Study for Bear Island
Fairfield Porter, (1907-1975) American
Oil on canvas

I've always admired Fairfield Porter's art. This one reminds me of my island life in Maine. I recall looking at the paintings that Porter did in Stonington, Maine, where I'd come from this morning. And researching where he'd painted there, and painting from the same or nearby location.

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Stonington (top left 20" x 18" w x h)
Emily Lansingh Muir, (1904-2002) American
Stone mosaic, 148" x 28" (w x h), circa 1960
See the full panel HERE

I always stop and enjoy Emily's 12' long mosaic mural made from beach stones she'd found on Deer Isle. We'd met so many years ago when I was working in Public Television and we'd interviewed her in her home about the many homes he'd designed on Deer Isle, fascinating artist. This morning I'd walked by her husband William's sculpture at the Stonington Public Dock of a granite stone cutter. Emily's mosaic pleasures me every time.

From the Museum I walk by a storefront that used to be the hardware store where I got McGee Island supplies as the caretaker. The counter was at the far back of the store. I recall my five-year-old son, Brett, running back, excited that he'd seen some birds that he'd never seen before. He wanted me to come before they left. Living on the island he could identify Bald Eagles, Ospreys, chickadees and so many more. When I caught up to him outside the door, I beheld his new found species, pigeons.

I stopped by Dowling Walsh Gallery, where I came upon work by the artist, whose Stonington cottage I'd spent the last two nights in. I'd just spent the last two days painting and visiting with her brother and his family, and her mom, my children's book author friend, all summering in Stonington. I recall contemplating the wrap-around cloth for the bathroom sink in Jenny's cottage this morning, it was a pattern of irregular large dots. And then I saw this and smiled.

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Dotted Shade, 6/1, 5:36 am
Jenny Brillhart, (1972- ) American
Oil on panel, 14" x 20" (w x h), $3,700
Dowling Walsh Gallery, Rockland, Maine

And I also smiled when my eyes feasted on another of her reality based abstract art that include son Malcolm's basketball. See more of Jenny's art and perhaps Malcolm's basketball at the Dowling Walsh Gallery HERE. I have a painting of Jenny's in my home, a gift.

On to the next gallery, Caldbeck Gallery, and who do I find there for his opening, David Dewey. I've taken three of David's workshops in years past. And it was great to see David recovered from his bicycle accident and take in his "recovery" watercolors from the past two years. I have paintings by David in my home, as well as paintings I've done of him during his class.

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Bruce McMillan, left and David Dewey, right, and between them...
Chickawaukie from Beech Hill
Watercolor on paper, 22" x 5" (w x h), 2020
From the Sketchbook - Watercolors (2020-2022
David Dewey, American
Caldbeck Gallery, Rockland, Maine
See this one and the exhibit's watercolors HERE

In the next part of the gallery I was treated to another smile from 95-year-old Lois Dodd, whose work I've admired for years.

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Untitled (Two Nudes, One Sawing)
Lois Dodd, (1927- ) American
Oil on panel, 16" x 11" (w x h), 2003
Working Women and By the River
Caldbeck Gallery, Rockland Maine
See the paintings HERE.

Heading to the Center for Contemporary Art in Maine I discovered yet another Lois Dodd painting, one that took me back to the Maine woods.

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Sunlight on Spruce at Noon
Lois Dodd, (1927- ) American
Oil on Linen, 1974
Center for Contemporary Art in Maine, Rockland, Maine

As I continued on with my drive home, and thinking about the art and people connections of this day, I'm reminded that... I'm having a fortunate life.

At the Edge of Fog

At the Edge of Fog

by the woods at Sand Beach in Stonington, Maine, plein air on August 4, 2022 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

When Fog Floated In

When Fog Floated In

by the woods at Sand Beach in Stonington, Maine, plein air on August 4, 2022 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

Watercolor Artists Paint Fog

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Watercolor Artists Paint Fog
Visual Essay

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Approaching Fog
John Marin (1870-1953) American
Watercolor with blotting, wiping and traces
of scraping, and with brush and black ink,
graphite, fabricated charcoal, and
touches of opaque watercolor
on paper, 20" x 15" (w x h), 1952
The Art Institute of Chicago

In 1921 John Marin wrote from Stonington, Maine to his friend and dealer, Alfred Stieglitz in New York: "Glad I am to be away from all the hurly burly I have left behind for a time... Glad to walk down to the shore and jump in the boat... Once in a while to paint a picture with none to butt in with another word. To take out my colors with none to say, You should have said pigments." (The Selected Writings of John Marin. Edited by Dorothy Norman (Pellegrini and Cudahy, NY, 1949).

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Morning Fog
Fairfield Porter (1907-1975) American
Watercolor on paper, 16" x 12" (w x h), 1974
Sold at a 2014 Sothebys London auction
Private collection

Many of Fairfield Porter's paintings are set in or around their family summer house on Great Spruce Head Island, Maine and his family home in Southampton, New York. Although a realist in subject matter, Porter not only admired and championed the abstract work of his friend Willem de Kooning, but was drawn to the inherent abstraction found in nature. Porter said, "When I paint, I think that what would satisfy me is to express what Bonnard said Renoir told him: 'Make everything more beautiful.' "

Morning Fog was exhibited at the Heckscher Museum of Art, Huntington, NY, Retrospective, December 15, 1974 to April 27, 1975

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Study of a Castle by a Lake
Joseph Mallord William Turner, R.A., (1775-1851) English
Watercolor on paper, 9" x 7" (w x h), circa 1824

During the 1820s Turner became increasingly interested in optics and color theory. His new found understanding of color was most probably inspired by his trip to Italy in 1819-20. There, the light had the effect of liberating his palette enabling him to achieve a finer luminosity in watercolor. He drew loose preparatory sketches and pure studies in color. These studies were rapidly executed with much was left to chance. Thin translucent layers of color would be applied to wet paper and once this had dried further washes would often be added. This technique enabled him to preserve the purity and luminosity of his work, and to paint at a rapid rate.

Turner left behind more than 550 oil paintings, 2,000 watercolors, and 30,000 works on paper. He was championed by the leading English art critic John Ruskin from 1840, and is today regarded as having elevated landscape painting to an eminence rivaling history painting. In 1841, Turner rowed a boat on the Thames so he could not be counted as present at any property in that year's census. He lived in squalor and poor health from 1845, and died in London in 1851 aged 76, yet Turner is buried in Saint Paul's Cathedral, London.

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Red Cloud VI
Donald Holden (1931-2017) American
Watercolor on paper, 11" x 7", (w x h), 1989
Phillips Collection, Washington D.C.

Donald Holden studied at the Art Students League of New York in 1947, got his BA at Columbia University in 1951 and his MA at Ohio State University in 1952. In 1986 he received an Honorary Doctorate from the Maine College of Art. He held positions as director of public relations at Philadelphia College of Art and the Metropolitan Museum of Art. Holden is the author of Whistler's Landscapes and Seascapes (1950). At age 56 he became a full-time artist. His luminous watercolors and minimalist drawings are in the permanent collections of the Metropolitan Museum of Art, the Smithsonian American Art Museum, the British Museum, the Victoria and Albert Museum, and the Butler Institute of American Art, among others. In 2004 Donald Holden Watercolors (128 pages) was published by Richard Boyle, on amazon HERE.

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Foggy Morning, No. 2
Charles Reiffel (1862-1942) American
Watercolor and gouache on paper, 13" x 9" (w x h), circa 1895
San Diego Museum of Art

Charles Reiffel was an American lithographer and post-Impressionist painter Born in Indiana, he became one of California's known painters. He was. initially a lithographer, and in 1912 at age 50-years-old he took up painting. He was self-taught, and he painted en plein air as a post-impressionist. Reiffel first moved to the art colony in Silvermine, Connecticut, where he was the president of the Silvermine Artists' Guild. He later moved to San Diego. He was the subject of a retrospective at the San Diego Museum of Art and the San Diego History Center in 2013.

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Landscape with Deer in Morning Haze (Fog)
Winslow Homer (1836-1910) American
Watercolor and graphite on paper, 21" x 15" (w x h),
circa 1902
Cooper Hewitt, Smithsonian Design Museum,
New York, NY, this art at the museum since 1913

Largely self-taught, Winslow Homer, an oil painter, also worked extensively in watercolor primarily chronicling his working vacations. Born in Boston he found his way to his family property development in Prouts Neck, Maine, his Prouts Neck studio, a National Historic Landmark, is now owned by the Portland Museum of Art.

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Inland Fog
Anne Seelbach (1944- ) American
Watercolor on paper, 15" x 11" (w x h), 1993

Anne Seelbach received a BA from NYU and an MFA from Hunter College, City University of New York. She has taught at the University of Rhode Island, Northeastern University (Boston), Emerson College (Boston), The Newark Museum (New Jersey), the Parrish Art Museum (Water Mill, NY), and the Victor D'Amico Institute of Art (Amagansett, NY). Seelbach lives and works in on Long Island in North Haven, NY. Her website is HERE.

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Fog above Lake Garda at San Vigilio
John Singer Sargent (1856-1925) American
Watercolor on paper, 20" x 13" (w x h), 1913

From the beginning, Sargent's work was characterized by remarkable technical facility, particularly his ability to draw with a brush, which in later years inspired admiration as well as criticism for supposed superficiality. His commissioned works were consistent with the grand manner of portraiture, while his informal studies and landscape paintings displayed a familiarity with Impressionism. In later life Sargent expressed ambivalence about the restrictions of formal portrait work, and devoted much of his energy to mural painting and working en plein air. Art historians generally ignored society artists such as Sargent until the late 20th century.

When the Sunlight Danced

When the Sunlight Danced

at the top of Mount Agamenticus at the 2nd Annual Mount Agamenticus Plein Air Paint Out in York, Maine painted plein air July 30, 2022, 20" x 14" (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

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Painting Shadows in Shadow
Visual Essay

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I had so much fun with this. After setting up on this hot day in tree shadows, a strong cool breeze blowing atop the mountain, I was ready to paint the trees before me. But I was mesmerized by the shadows dancing on my paper from the blowing branches above me. And so I went with it...

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They danced and danced.

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So while the sun shined through the blowing branches, I panted the dance of the trees.

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And so my view was not in front of me, but cascading down from above, and I had a blast painting "When the Sunlight Danced".

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Meanwhile, Justine Springer was painting Mt. Agamenticus North Face in acrylic beside me for the 2nd Annual Mount Agamenticus Plein Air Paint Out. Her web site is HERE. Note the color of her rocks and the color in them in the photo above. I spy a lovely pink. Meanwhile, beyond these trees, down  below us and looking up at them from the other side was another painter.

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Caren Klein was painting the same trees from the other side, Big "A" with water soluble oils. what I found intriguing was how these two artist painting the same trees and rocks independent of each other, both used lovely pinks in the rocks, which was their view of these gray rocks. And as my grandson once said, "It's a painting; you can do anything." And they chose the same anythings. Caren Klein's website is HERE.

Art is so satisfying.

Pointing Up to Fairweather Clouds

Pointing Up
to Fairweather Clouds

at the top of Mount Agamenticus at the 2nd Annual Mount Agamenticus Plein Air Paint Out in York, Maine painted plein air July 30, 2022, 15" x 12" (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, $450, for sale at the York Art Association, 394 York Street, York Harbor, ME 03911 their web site HERE through August 2022

There were our 16 paintings in a line amidst the members art at the York (Maine) Art Association, mine on the left at the start of the line. The painting on the right, All the Way to the Sea, by Allison Donohue, her website is HERE.

At the reception... my painting is at the center of this photo. The mother and son in the foreground are First Place Winner Allison Donohue and her son.

Fairweather Clouds Visual Essay

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How Artists Approach
Fairweather Clouds
Visual Essay

As painted by six noted artists:
Tom Thomson (1877-1917) Canadian
Georgia O'Keeffe (1887-1986) American
Edgar Degas (1834-1917) French
Vincent van Gogh (1853-1890) Dutch
Eugène Boudin (1824-1898) French
Claude Monet (1840-1926) French

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Summer Day
Tom Thomson (1877-1917) Canadian
Oil on composite wood-pulp board, 11" x 9" (w x h), 1915
McMichael Canadian Art Collection,
Vaughan, Ontario, Canada

Painted at the Algonquin Park in Ontario. From 1912 to 1917 Tom Thomson spent spring summer canoeing and camping at Algonquin Park. Taking odd jobs as a ranger and guide left him time to sketch and paint the wilderness landscapes.

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In the Patio VIII
Georgia O'Keeffe (1887-1986) American
Oil on canvas, 20" x 26" (w x h), 1950
Georgia O'Keeffe Museum, Santa Fe, New Mexico

Georgian O'Keeffe's view from interior of her Abiquiu patio in New Mexico.

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Sky Study
Edgar Degas (1834-1917) French
Pastel on paper, 1869

This was painted early in Degas' career. From 1865-1869 we submitted work to the Salon, the official art exhibition of the Académie des Beaux-Arts in Paris. Between 1748 and 1890 it was arguably the greatest annual or biennial art event in the Western world. In 1979. when the Franco-Prussian War broke out, Degas enlisted in the National Guard, where his defense of Paris left him little time for painting. During rifle training his eyesight was found to be defective. For the rest of his life his eye problems were a constant worry to him.

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Wheat Field with Cypresses
Vincent van Gogh (1853-1890) Dutch
Oil on canvas, 37" x 29", (w x h), 1889

In late June 1889 Van Gogh devoted one of his first series of paintings in Saint-Rémy to the towering Cypress trees. His exuberant on-the-spot studies include this majestic horizontal composition, which he illustrated in reed-pen drawings sent to his brother on July 2. Van Gogh regarded the present work as one of his "best" summer landscapes. He was prompted that September to make two studio renditions: one on the same scale (in the National Gallery, London) and the other a smaller replica, intended as a gift for his mother and sister (private collection).

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Study of Clouds, Blue Sky
Eugène Boudin (1824-1898) French
Oil on wood, 18" x "15 (w x h), circa 1888-1895
MuMa, Musée d'art moderne André Malraux,
Le Havre, France

Eugene Boudin didn't start out to be a painter. His father ran a ferryboat between Honfleur and Le Havre, the big English Channel port, and Boudin worked on the boat as a child. In school a teacher spotted artistic talent, and from then on, Boudin went to sea via the his painted canvases. On the back of every painting, he recorded the weather and the winds on the day it was made, like a seaman. Eugene had a grand time painting beach activity. He urged his young friend Claude Monet to join him at the seaside. Monet was 15 years younger and making a reputation in Paris, drawing caricatures in charcoal. Boudin thought Monet could do more. "I want you to see the light."

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Regatta at Sainte-Adresse
Claude Monet (1840-1926) French
Oil paint on canvas, 40" x 30" (w x h), 1867
Metropolitan Museum of Art, New York, NY

Monet was destitute and spent the summer of 1867 with family at Sainte-Adresse, a well-to-do suburb on the Normandy coast of Le Havre, home to his father and aunt. It was at the cost of abandoning his pregnant companion, Camille Doncieux. On June 25, he reported that he had about twenty pictures under way, noting, "Among the seascapes, I am doing the regattas of Le Havre with many figures on the beach and the outer harbor covered with small sails." In August Monet return to Paris to attend attended the birth of Jean on August 8 and returned to the coast a few days later to continue painting.

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A-muse-ing Views of Art

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A-muse-ing Views of Art
Gallery curated by Bruce

including art of
Leon Putz (1869-1940) German,
Frank Stella (1936- ) American,
René Magritte (1898-1967) Belgian, and
Bruce McMillan (1947- ) American...

art relating to apple tree watercolors...
to prompt visual thought...
three pairs to muse on...

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Ninety-one Years Still Growing
Bruce McMillan (1947- ) American
Watercolor on paper, 7" x 5" (w x h), 2022
Sold, Three Rivers Land Trust auction, 07/24/2022

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Portrait of a Lady / Damenporträt
Leo Putz (1869-1940) German
Oil on canvas, 16" x 16" (w x h), circa 1910
Private collection
Ketterer Kunst, Munich 2019 auction, sold $19,500

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Apple Tree Hanging Out
Bruce McMillan (1947- ) American
Watercolor on paper, 10" x 8" (w x h), 2022
Sold, Three Rivers Land Trust auction, 07/24/2022

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Bafq
Frank Stella (1936- ) American
Fluorescent alkyd on canvas, 9' x 7' 10" w x h), 1965
Private Collection
(from Stella's Persian Paintings,
all four named for ancient cities in Iran.)

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Lower Orchard Three
Bruce McMillan (1947- ) American
Watercolor on paper, 12" x 9" (w x h), 2022
Sold, Three Rivers Land Trust auction, 07/24/2022

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The False Mirror Paris
René Magritte (1898-1967) Belgian
Oil on canvas, 32" x 21" (w x h), 1929
MOMA, Museum of Modern Art, NY

All Bruce McMillan watercolors sold benefit the Three Rivers Lands Trust, their web site HERE. They were painted at McDougal Orchards (their website HERE) during the Springvale Public Library Bruce McMillan Watercolor Workshop to benefit the library (their website HERE),

Bruce's SPL Painting Workshop

Lower Orchard Three

Ninety-one year old apple trees in the lower orchard at McDougal Orchards, Hanson's Ridge, Springvale, Maine, (website HERE) demo painted plein air July 19, 2022, 12" x 9" (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.
Sold at the Three Rivers Land Trust 2022 benefit auction

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Bruce's Painting Workshop
July 19, 2022
The Springvale Public Library
2022 Watercolor Workshop
All student fees were donated to the SPL auction fundraiser.

We painted up the hill from the Springvale Public Library on Hanson's Ridge in the lower orchard at McDougal Orchards, a six generation family farm business where I'd photographed my children's book Apples: How They Grow (Houghton,  1979)

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My plein air demo started as a sketch on a hot humid windy day.

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Bobbi Heath, an oil painter, was here to improve her watercolor skills.

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Bobbi Heath notes:
1) Creating green by layering yellow and blue.
2) Not using ultramarine blue in making the greens.
3) More white of the paper.
4) Lifting.
5) Going over the sky more than once to add pigment.

Bobbi Heath's art website is HERE.

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The scene...

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Bobbi's first and second watercolor paintings, moving from thinking in oil painting mode to thinking in watercolor painting mode, two entirely different approaches, from opaque to transparent, from where white is a color on the palette to where white is the watercolor paper itself.

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My subject in the lower orchard at McDougal Orchards, and two studies...

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Apple Tree Hanging Out

in the lower orchard at McDougal Orchards, Hanson's Ridge, Springvale, Maine, painted plein air July 19, 2022, 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.
Sold at the Three Rivers Land Trust 2022 benefit auction

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Ninety-one Years Still Growing

in the lower orchard at McDougal Orchards, Hanson's Ridge, Springvale, Maine, painted plein air July 19, 2022, 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.
Sold at the Three Rivers Land Trust 2022 benefit auction

One Two Apples that Grew

 

One Two Apples that Grew

in the lower orchard at McDougal Orchards, Hanson's Ridge, Springvale, Maine,
painted plein air July 19, 2022, 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
$150

Seven Eight Apples the Wait

 

Seven Eight Apples the Wait

in the lower orchard at McDougal Orchards, Hanson's Ridge, Springvale, Maine,
painted plein air July 19, 2022, 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
$150

Apples Nine Growing Fine

Apples Nine Growing Fine

in the lower orchard at McDougal Orchards, Hanson's Ridge, Springvale, Maine,
painted plein air July 19, 2022, 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
$150

Reykjavik Rider / Reykjavík knapi

Reykjavik Rider / Reykjavík knapi

on an E-scooter in Iceland, on June 20, 2022, painted July 13, 2022, 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
$475 USD / 65.000 ISK

Juried into the Icelandic Watercolor Society / Vatnslitafélags Íslands
Fall 2023 Exhibition, Shades / Blæbrigði
9/23 - 10/20, 2023
Hallsteinssal
Borgarfjörður Museum
Berugata 14
Borgarnes, Ísland

The Far Side of Peaks Island Study 2

The Far Side
of Peaks Island Study 2

in Casco Bay, Portland, Maine, painted plein air July 10, 2022, 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

The Plein Air Scene on Peaks Island

The Far Side of Peaks Island Study 1

The Far Side
of Peaks Island Study 1

in Casco Bay, Portland, Maine, painted plein air July 10, 2022, 12" x 9" (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
$400

Color Takes Flight

Color Takes Flight

as seen from Icelandair's seat 9G over the North Atlantic Ocean painted June 29, 2022, 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