Carol L. Douglas Archives | Page 20 of 75

February 12, 2015

Je suis France

The ‘controversial’ street art that earned Combo a beating.

On Monday I wrote about the responsibility of artists to tell the truth. In the United States, we are reasonably safe from persecution, but that isn’t the case in France. Last month 17 people were assassinated and 22 wounded in a series of terroristic attacks that were putatively in response to cartoons critical of the prophet Muhammad.

Compared to the staff of Charlie Hebdo, the street artist known as Combo got off easy. Le Monde reports that four young toughs asked the artist to remove an offensive piece of art last weekend. He refused and they beat him up. Combo is a big fellow who learned boxing essentials from a younger brother, but he suffered a dislocated shoulder and other injuries sufficient to put his right arm in a sling—in essence, they were trying to silence his drawing hand.

On the other hand, the ‘offensive art’ he posted on a Paris street is, by our lights, soothing and safe. It is a riff on that ubiquitous Coexist bumper sticker that is plastered on Priuses all over America. His art consisted of a picture of himself dressed in a djellaba on a wall alongside the Coexist image.

Part of Combo’s installation in Chernobyl.

Born in Amiens to a Lebanese Christian father and a Muslim Moroccan mother, Combo is the eldest in a family of four boys, of whom the younger have become more religious. “At first I thought I was French, but then I quickly realized that I was Arab. Now, I am told that I am a Muslim. This is the French disintegration,” he added.

Part of Combo’s installation for the 2014 French election.

When Combo decided to leave for Beirut, his friends said, “You are a fool! What are you going to do, jihad?”

“I’m going to make jihad-art on the walls of Beirut,” he answered. “Less of Hamas, more of hummus.”

Combo refuses to speculate on the identity of those who assaulted him. “That would only add fuel to the fire. Of course I’m scared. But I said I was Charlie, and I still am.” And then he smiled. “Too bad for them that I am left-handed.”

Let me know if you’re interested in painting with me on the Schoodic Peninsula in beautiful Acadia National Park in 2015 or Rochester at any time. Click here for more information on my Maine workshops! Download a brochure here.

February 11, 2015

The Secret Life of Dr. Seuss

Hotel del Coronado records the view outside Geisel’s studio window.

I can’t imagine there’s an American alive who isn’t familiar with the works of Dr. Seuss (Theodor Geisel). Several generations of children have learned to read with his books and his drawings are ubiquitous.

Gosh! Do I Look as Old as All That! is part of an 11-painting series gently mocking La Jolla matrons.

The world as seen by Dr. Seuss is strange, but it might look a bit less odd to a native of San Diego. Geisel modeled his palms and acacias, brightly-plumed birds and bright landscapes on the Southern California scene.

Martini Bird, Theodor Geisel (Dr. Seuss)

Geisel lived in La Jolla, an upscale seaside neighborhood in San Diego, from 1953 until his death in 1991. There he wrote most of his classic children’s tales including The Cat in the Hat, Horton Hears a Who, How the Grinch Stole Christmas, Green Eggs and Ham, and The Lorax.

Raising Money for the Arts, Theodor Geisel (Dr. Seuss)

Like so many 20th-century book illustrators, he learned his craft through advertising, drawing for General Electric, NBC, Standard Oil, and other companies.

Cat Behind the Hat, Theodor Geisel (Dr Seuss)

Dr. Seuss liked to paint at night after he was done writing and illustrating during the day. Unlike most artists with a bifurcated work life, his personal paintings aren’t clearly different from his story books. This couldn’t have been because his life was smooth sailing: his first wife, Helen Palmer Geisel, committed suicide in despair over illness and her husband’s burgeoning affair with her close friend. Geisel served in the First Motion Picture Unit of the Army in the Second World War and lived through all of the epochal, cataclysmic events of the 20^th century. But none of that shows in his work. It is unfailingly gentle and shallow, although marginally more adult.

Lion Stroll, Theodor Geisel (Dr. Seuss)

Ingenious! The World of Doctor Seuss is an exhibit of reproductions of his paintings and sculpture. (His widow refuses to allow any of his original work to be displayed.) It runs at the San Diego History Center until the end of 2015.

Oh, I’d Love to go to the Party, but I’m Absolutely Dead, Theodor Geisel (Dr. Seuss)

February 10, 2015

In the bleak midwinter

Deer in snow, oil on canvas, by Carol L. Douglas. This was not painted en plein air and it shows. Not just in the deer, but in the heightened shadows, which are next to impossible here in mid-winter.

These days I will go outside to paint in the winter, but only if one of my pals really wants to. I think I’ve done my penance freezing in the bleak midwinter.

Highland Park snow squall, pastel, by Carol L. Douglas

About 15 years ago, I decided that I would paint outdoors every day (which for me meant six days a week). I did this for one calendar year. Of course it seemed like that was the coldest winter we’d ever had, but in truth every winter is the coldest we’ve ever had.

Vineyard in snow, pastel, by Carol L. Douglas

Rochester doesn’t get the body-numbing cold of other northern areas because we have the tempering effect of Lake Ontario. However, we get an almost constant deep cloud cover from moisture picked up over that same lake. A damp 20° F. with no sun feels colder than 10° F. on a bright day. Add a snow squall raging in from the lake and you have a situation of indescribable unpleasantness.

Snowy road in Rush, pastel, by Carol L. Douglas

That heavy overcast also makes for grey, indirect lighting without shadows. It’s just not that exciting to paint, and one reason I quit painting in winter was that most of what I painted bored me. But my brief foray in Maine last month reminded me of how beautiful winter can be when the sun actually comes out.

Skating rink, oil on canvas, by Carol L. Douglas

A few years ago, I did another painting-a-day cycle with small still lives. When you insist on finishing a painting every day, you develop a specific working rhythm. You take work to a certain point and no further. Both times I finished doing them, I was happy to start working on more intentional, longer works. But my painting style has changed a lot in fifteen years, and I’m thinking that another cycle of painting-a-day might be in my immediate future.

Just not this week. It’s too cold out there.

Painting in Piseco, New York in February.

February 6, 2015

Corporal Acts of Mercy

Another snowy day in the Duchy.

Being very laid back, we in the Duchy don’t enforce all that border-crossing nonsense, but if you visit, you know immediately that you’re in a different space.

For one thing, our hierarchy is upside down. The nobility—and by that I mean me—seem to spend an inordinate amount of time clearing drains and uncovering fire hydrants. This isn’t because I’m particularly nice; in fact, I’m a curmudgeon, always grumbling about the neighbor who lets his dog defecate on my property. That blasted spaniel is indiscriminate about where he goes. Last month he went right in the middle of our front walk. My assistant managed to pick it up on her shoe and track it through my house, forcing us to stop working and wash all the hardwood floors. But I digress.

The Duchy has a resident saint and she frequently drags me along on her acts of mercy. Mary has lived in the Duchy for her entire life, so she knows everyone. She has a tender heart. I do not, but I go along with her schemes because they’re always more interesting than whatever I was supposed to be doing.

Winter snowsquall in the Duchy. 6X8, oil on canvas, Carol L. Douglas

“Number 178 is being cased by a burglar in an old silver sedan,” Penny the Ducal Mailperson announced yesterday. “Two feet of snow in the driveway and a package in the door for days; it’s obvious that nobody’s home.” Because Mary fixes things, Penny handed her a slip of paper with the license plate number on it.

A portrait of the artist as a maintenance guy.

The easiest solution was to shovel out Number 178 to make it look less abandoned. The average house in the Duchy has 30 feet of front walk, 50 feet of sidewalk, and 120 feet of tarmac that starts about 10 feet across and widens to a parking area in the back. Only a zealot (me) ever shovels this by hand. Nobody who is not dead lets it build up, especially when Mother Nature is furiously showering down snow. It packs in like concrete.

An hour into our Herculean labors, we saw a commercial plow come down the street. “Let’s pay him to finish this,” we instantly agreed. Ripping off her hat and shaking out her gleaming blonde hair, Mary flashed a bit of very shapely leg at him to get his attention. He trundled on.

Mother Nature is just in one of those moods.

“Boy, was thatever a kick in the ego,” she grumbled.

“I think you’re supposed to remove some of the twelve layers you’re wearing,” I pointed out.

Today Number 178 was snowed in again. There were footprints around the house and garage, as if someone was peering in the windows. Again we shoveled, and then we called the police.

Bad parking job.

The irony? That’s the neighbor whose dog messes on my property. And that’s why Mary is a saint: nobody else could have gotten me to do that.

February 4, 2015

What drew them to Maine?

It’s all about the light…

In the mid-19th century working in natural settings and capturing natural light became particularly important to painters. The popularity of plein air painting increased with the introduction of pre-mixed paints in tubes and the rapid development of new, color-fast pigments.

And the granite outcroppings…

This movement arose more or less simultaneously around the world, including the Barbizon and Impressionist schools in France, the Newlyn painters in England, the Group of Seven painters in Canada, the Heidelberg School in Australia, and the Hudson River School in New York.

And the untouched wilderness…

A national awareness of Maine’s striking landscape was raised in large part by the Hudson River School artists. Thomas Cole, Frederic Church and Thomas Doughty were among the first nationally-known painters to capture Maine’s natural beauty.

At the time, New York was the unrivaled center of art in America, and the Hudson River painters were celebrities. Their paintings were travelogues for a nation hungry to learn about the vast, untamed wildernesses in their own country. It is no coincidence that they painted concurrently with our westward expansion and the first movements toward a national park system.

And the ocean breezes…

They established a tradition of urban artists finding inspiration in Maine. Born in Boston, trained and established in New York, Winslow Homer reached his artistic maturity in Maine. Many other painters have followed his lead, including George Bellows, Rockwell Kent, Edward Hopper, and Rackstraw Downes.

And the power and motion of the sea.

What impulse drove them to Maine? In part it was a desire to escape market-driven and competitive New York. It was also a response to the clear bright light, the bracing breezes, the constant motion of the sea, the sighing winds and the bending pines.

A storm sky forming over Mt. Desert Narrows.

Let me know if you’re interested in painting with me on the Schoodic Peninsula in beautiful Acadia National Park in 2015 or Rochester at any time. Click here for more information on my Maine workshops! Download a brochure here.

February 3, 2015

Elvers and Pickled Wrinkles

Lobster traps in Corea, ME. This little burg will be on our agenda. It’s very much a working fishery town.

North of Ellsworth, ME, the Atlantic coast veers away into a different world. Gone are the clamshacks, the art galleries, and the coffeeshops geared toward visitors from away. We’re now in working Maine.

Stunning rock outcroppings.

I passed a sign reading, “Elvers bought here.” It turns out that an elver is not a juvenile elf but a juvenile eel. If I had a pickup truck full of them, I’d be a wealthy woman, even though the price has dropped from its 2012 high of $2600/lb. to a more rational $400-600/lb. Although I’ve never heard of the things, in 2012 the statewide harvest was valued at more than $38 million, making it the second-most lucrative catch in Maine’s fisheries industry.

Our home-away-from-home.

I couldn’t take photos of the insides of our accommodations—the water and power is off, and there’s antifreeze in the toilets. But they’re four-bedroom duplexes, originally designed as Navy barracks. There are kitchens and sufficient bathrooms, but there will be no 600-thread-count sheets at this workshop. For those of you who have visited Ghost Ranch at Abiquiu, NM, this is very much the northeastern equivalent. It’s all about the sky and the landscape.

Last summer, Schoodic Institute hosted a stone sculpture symposium. This is carved granite, in front of Morse Auditorium at the Institute.

Because we’re back of beyond, our workshop includes all meals. However, there is a good pub in Winter Harbor—the Pickled Wrinkle—that you should visit on your way home.

The Dining Hall is stripped for winter, but there’s a wonderful view.

Acadia seems to be everyone’s darling recently. See Good Morning America’s video, here, and USA Today’s reporting, here. In anticipation of increased visitation, the Park Service is busy upgrading the fabric of the place, including newly-paved roads. In a few years, you’ll be able to look down your nose and tell people, “I was there before it was cool.”

Very much working Maine.

(One of my students asked me whether there’s a ferry from Schoodic to Bar Harbor. There is; it leaves from Winter Harbor.)

February 2, 2015

A winter morning at Schoodic

Electronics just get smaller and smaller. What once took a whole naval base now operates out of this lighthouse at Winter Harbor, ME.

The Schoodic Institute is a relatively new addition to Acadia National Park. The property was operated as a secure United States Navy base from 1935 to 2002. (I’d tell you that they did cryptology, but then I’d have to kill you.) This replaced an earlier site, Otter Cliffs, which was on Mt. Desert Island from 1917 until 1933.

Little Moose Island catching the evening light.

Otter Cliffs was considered the Navy’s best transatlantic radio receiver site due to its isolation and the unobstructed ocean in front of it. Much of the Navy’s early receiver, antenna and noise mitigation technology was developed here under the leadership of radio pioneer Greenleaf Whittier Pickard. But John D. Rockefeller wanted Otter Cliffs included in Acadia National Park. He convinced the Navy to swap locations. This is why the base at Schoodic had such an over-the-top main building—Rockefeller never did anything by halves.

In addition to fantastic shoreline, there are boreal bogs, too. This one won’t look like this in the summer, but I couldn’t resist the faerie lighting of the mist-shrouded branches.

We will be visiting at a unique point in Schoodic’s development. It’s still an unknown entity for most people, and the accommodations are best described as “military base chic.” But the Park Service is slowly rebuilding the facility. An area around the park—encompassing a third more property than the park itself—has been acquired for development as a resort. (This development would already be underway had it not been delayed by the Great Recession of 2008.)

Rolling Island seen through a shroud of trees.

Arey Cove at low tide. It looks very different with the tide up.

But for now, we will get to paint some of the best landscapes on the North Atlantic in relative solitude. This week I will post a pictorial essay on what we will be seeing. I hope you enjoy it.

Rockefeller never did anything by halves. This is the administration building for the former naval base.

January 30, 2015

Heading north in slow stages

Frozen paints…

…lead to a frozen sketch.

A week ago today, I drove up the Maine coast in slow stages. Maine is beautiful in winter, but it’s not the same kind of beauty as in August. Mid-coast Maine and Rochester have about the same winter temperatures. (As here, it gets colder the farther away from open water you go.) But there’s far more winter sun in Maine, and it creates the illusion of warmth.

Belfast tugs, last summer. That’s my student Brad Van Auken’s painting start.

I stopped in Belfast, ME for groceries, a gallery call, and a few moments of sketching at the harbor. Belfast often has tugs under repair in its boatyard, and it is a pretty place even in January. I pulled out my watercolor sketch kit and started a fast sketch of the pretty red boathouse. When my paints froze in the pan, it was a sign that I should move on.

North of Ellsworth, US 1 becomes a much quieter, more contemplative road.

After Ellsworth, ME (the turn-off to Bar Harbor), US 1 becomes a much quieter road, especially in winter. My goal was to arrive in Winter Harbor by dusk. After a quick trip out to Schoodic Point to catch the winter sun setting over the ocean, I settled in for the night.

Sun setting over Schoodic Point.

Not wanting to head into Winter Harbor for a pub meal, I was forced to cook myself dinner. I reminded myself that wine goes with everything, and soldiered on.

Wine goes with everything.

January 29, 2015

Power of art

The symmetry of Thomas Hart Benton’s mural at the Power Vista balances the Iroquois and Europeans, who are also evenly matched in stature, equipment and clothing.

When I was a child, we used to take field trips to the Niagara Power Vista. This is a glorified observation deck over the Niagara River. (Back in the day, we actually saw one of these behemoth turbines at rest in the bottom of its deep chute, which was a terrifying experience to a child with imagination.)

Among the attractions was a mural by Thomas Hart Benton. While other Benton murals are being transferred to major museums, this one sat for years in direct sunlight, fading. In honor of the Power Vista’s 50th anniversary, it’s been restored.

Father Louis Hennepin discovering Saint Anthony Falls, Douglas Volk (1905). The difference between Benton’s and Volk’s characterization of the Native people is striking.

Thomas Hart Benton established his reputation in the 1930s with five murals that championed a new American art movement known as Regionalism. His was the most well-known voice of the Work Projects Administration (WPA) mural program. He was the first artist ever featured on the cover of Time magazine (in 1934).

The History of Water, Thomas Hart Benton, 1930. This was executed for a drugstore in Washington DC in 1930, but was removed shortly thereafter and stored in the basement. It was rediscovered in 1985. After being verified as a long-missing work by Benton, it was put up for auction at Sotheby’s and is currently with Vivian Kiechel Fine Art in Lincoln, Nebraska.

His Power Vista mural depicts the Belgian missionary Fr. Louis Hennepin blessing Niagara Falls in the winter of 1677. Those who know and love the Falls recognize the topography, as stylized as it is. What I most admire is the respect Benton showed to Hennepin’s Iroquois guides. The Iroquois were far from savages. Not significantly behind the Europeans of the time, they quickly adopted what technology they didn’t have. They were mercantile and warlike, and Benson paints them and their European counterparts as equals.

Let me know if you’re interested in painting with me in Maine in 2015 or Rochester at any time. Click here for more information on my Maine workshops! Download a brochure here.

January 28, 2015

Weather notes

When I arrived in Waldoboro, it was hovering around a high of 27° with a low in the single digits, and no snow.

A few weeks ago I quoted a sailing instructor:

For God’s sake, learn how to read the weather!

For home work, I made my sailing students keep a notebook chronicling the daily weather. It had to have the forecast from the newspaper with their own observations.

At the time, I said that would be a great idea for my plein air painting students, too. Rather than assign work I haven’t tried myself, I packed a small watercolor sketchbook, ruled off into six squares per page, and my trusty old Winsor & Newton pocket paint kit.

That was the pattern until the end of the week, when the temperatures moved up and the sky started building.

In Rochester my studio faces to the north and east, away from the weather front, and the southwest sides of our house—which is where the action is, weatherwise—have more limited visibility. After this week of balancing in precarious positions, I feel like I might just go out on the stoop and sit. It takes fifteen minutes for the paints to really freeze.

I was in Winter Harbor, left, when snow moved in.

What have I learned so far? It’s generally sunnier here in winter than it is in Rochester. The winter light is lemony and the shadows are purple, whereas in Rochester, the winter light tends toward peach and the shadows toward blue (perhaps because it’s never truly bright). And a blizzard is a blizzard is a blizzard, no matter where it’s blowing.

I hope to shovel out and hit the road to Pittsford today, but the plows remain obstinately quiet. Still, they needn’t come by until I’m ready to roll. Just in time is fine.

The day before the blizzard, left, was a perfectly clear Maine day.

Let me know if you’re interested in painting with me in Maine in 2015 or Rochester at any time. Click here for more information on my Maine workshops! Download a brochure here.