Friday, November 30, 2012

November Offerings

Fall Reflex 1 (12" X 24")

Fall Reflex 2 (24" X 18")

Kirby in Technicolor (40" X 30")

Rock Creek Measured in Blue and Brown (22" X 28")

Thursday, October 4, 2012

Autumn Beckons

Q Street Bridge from Northside (20 X 16)

Rock Creek Reflects (20 X 16)

Rock Creek Reflects (40 X 30)

Shad Dreams Under Q St. Bridge (36 X 48)

Kirby in Red, Blue, and Brown (40" X 30")

Rock Creek Limited Palette #1 (18" X 24", oil on paper)

Rock Creek Limited Palette #2 (24 X 18", oil on paper)

Rock Creek Limited Palette #3 (24 X 18", oil on paper)
This series started as a warm-up sketch with a limited palette of white, burnt umber, and ultramarine blue. On the first two I couldn't resist throwing in some burnt sienna as an afterthought. The third is pure. The technique is inspired by Van Gogh's approach to drawing.

Rock Creek from Q Street Bridge (16 X 20)

Under Mass Ave Bridge (20 X 16")

Railroad Bridge #4 (12" X 24")
Part of an ongoing, but slowly unfurling series down at the West Potomac Park at Haines Point.

Children at High Tide (30" X 40")
I took almost two years off from painting from photos, but I'm back at peace with the concept. This is painted from a 3x5 snapshot taken of my niece and nephew at the beach.

Monday, August 6, 2012

Summer 2012. So Near So Far.

Ann's Young Pine (36" X 24")

Awaiting Irene (12" X 24") I painted this onsite last August and adjusted in my studio this summer.

Earthly Separations #2 (24" X 48") This was also painted last summer, but I brightened it up with candy store colors in the studio today. It was very somber, the red gash in its gut the only bright spot.

Big Northern Hourglass (40" X 60" diptych)

Northern Hourglass (24" X 36") Painted onsite as a study for larger diptych for our dining room here in Keene Valley, NY, replacing the big painting now stored in the attic.

Stone Family on the Brook (11" X 14"), painted alongside my nephew's study of the same subject. It's been a summer of plein-aire painting in the North Country. In particular, I've been roaming the Adirondacks of New York State, the French River and Georgian Bay of Ontario, and the St. Lawrence Valley above Quebec City. Sorry for the delay in updating the blog with the new work and sorry that the labels on the vertical pieces are poorly formatted. Many of these pieces are hung at the Corscaden Barn in Keene Valley, NY, where the opening reception is Thursday, August 11 from 5 to 7pm. Come!!

Afternoon View (18" X 24") Sold. A view over the St. Lawrence of Isle aux Coudres, south of La Malbaie.

Headwaters (24" X 18") Gifted. Painted way up the Malbaie River under an impressive headwall on the canyon's rim.

June Wind (24" X 36") Sold.

Midriver Revelry (18" X 24"). Painted on the French River, Georgian Bay, Lake Huron, Ontario.

Morning View (18" X 24"). An earlier view of Isle aux Coudres (Hazelnut Trees) with cleaner, cooler morning light. The Afternoon View is hazier and warmer.

Northern Muses (11" X 14") Traded. With Tom Thomson looking over my shoulder on the French River. I'd finally seen my first Thomsons in the flesh two days before at the Art Gallery of Ontario (a Frank Gehry building in Toronto) and at the McMichaels Collection just north of Toronto. Well worth the journey. Eventually Tommy stopped breathing over my shoulder and I started painting like myself again.

Untitled (20" X 30") My first Adirondack painting of the summer, whilst searching for a theme for the big empty space in the dining room.

September Song (24" X 48") Traded. Painted immediately after Irene on site, I brightened this up in the studio this summer. It was very dark before.

Sorcerer (14" X 11") Sold. My last painting from the French River series.

Sunshafts and Trees (18" X 24"). Painted in a driving headwind up the Saguenay River Fjord, with ten beluga whales gathered right out there in the ways and sunshine.

Sunshaft, Rainshaft (24" X 30") Sold. Painted on the St. Lawrence at San Siméon, way above Quebec City, looking out toward the Gaspé Peninsula. There's a massive tanker in the rainshaft.

Tumble Time (36" X 24"). Painted onsite at the base of my beloved Trinity Falls on Phelps Brook. Water so pure the houses above us pipe it unfiltered to their sinks. I drink it every morning as part of my wake-up routine here.

Wall and Clouds (24" X 30"). An 800 ft granite wall which, if it were more accessible, would be covered in climbers every wkend. The last of my Canadian series.

Witness (20" X 16"). This beautiful specimen is about as old as I am and looks up at our house from the bottom of our view down the Johns Brook valley to Marcy. It has appeared in various paintings of mine over the years. It's just big and strong enough to climb safely, its top stirring my being into the breezes as I get a novel angle on our house and terrace and the surrounding peaks.

Young White Pine (12" X 9") Sold.

Thursday, May 17, 2012

Sleeping Dog Series

Prancer (24 X 18")

Diver (18 X 24")

Pointer (18 X 24")

Bounder (18 X 24")

Wednesday, May 9, 2012

May's Waterways

Shad Dream (18 X 24") Sold. My National Park Service friends who manage the Pierce Mill Dam Fish ladder tell me that the weirdly warm March may have thrown off the migrating shad (which are down 97% from 1950 levels, but supposedly rebounding) and that they aren't making it as far up Rock Creek as they have in years past. The fish ladder provides a prime spot for seeing them make their way up, but my several visits in the past eight weeks have afforded me glimpses of a grand total of zero shad. But I dream of shad and I speculate about their dreams.

Rock Creek Reflection and Shadowplay (oil on canvas, 30" X 24") SOLD

Friends Creek Mothers Day (36 X 24") SOLD

Pierce Mill Dam (16 X 20")

Monday, April 9, 2012

April Efforts

Piña de Milagro (18" X 24")

Papaya Morning (18" X 24"). Sold.

Sturgeon Territory (40" X 30")

Q Street Bridge Northside (20" X 16")

Q Street Bridge Southside (16" X 20")

Painter on the Severn #2 (16" X 20")

Painter on the Severn #1 (14" X 11")

Sweeping (20 X 16")

Fish Ladder (14 X 11")

I have yet to see a shad ascending Rock Creek, but these two paintings are tokens of my efforts to do so. I love the idea of combining Rock Creek, a bridge, human figures, and (a) shad into a big coherent painting that reflects the natural history (including the present and future) of the creek.