Clary Hill Archives | Carol L. Douglas

September 25, 2020

What comes after art classes?

Painting is a lifelong exercise in self-guided learning.

Clary Hill Blueberry Barrens, watercolor on Yupo, available through Maine Farmland Trust Gallery, by Carol L. Douglas

A student asked me why I teach all levels in my classes. Indeed, adding a brand-new painter to the group can sometimes be difficult, as I need to spend a little more time with that person at the start. I’ve found, however, that almost everyone needs the same lessons repeatedly. Painters make the same errors at almost every level—of value, color-mixing, contrast, line, and focal points. It takes a surprisingly amount of time to convince students of the value of process, including value sketches and drawing.

My own experience in taking master classes hasn’t been good; they’ve been less about mastery and more about marketing. That’s not to indict all painting teachers, but unless the teacher knows you in advance, they know very little about your painting level before you start the class, even with portfolio review.

Clary Hill Blueberry Barrens, oil on canvas, available through Maine Farmland Trust Gallery, by Carol L. Douglas

With twelve or fewer students in a class, I have time to meet each person where they are and encourage them a little farther along the road. This is very intensive, and I blow it more than I like. Yesterday I had a painter whom I should have pushed harder on establishing a focal point, but I didn’t realize that until dinnertime.

I still occasionally take classes myself, although it’s not common. It happens when I run across a painter who’s doing something I want to master. I took Poppy Balser’s watercolor workshop a few years ago, because Poppy can make a line of dark spruces shimmer against the sea. I wanted to know how she made that value jump in watercolor.

There are other painters I would like to learn from. Dick Sneary and Dave Dewey are both consummate watercolorists, and I admire their drafting and composition skills tremendously. Likewise, I admire Lois Dodd’s ability to drive to the emotional nut of a scene by removing all extraneous matter. And I often return to Clyfford Stillto think about composition.

Part of my class on Clary Hill, photo courtesy of Jennifer Johnson.

An old and reliable way to learn is to copy master works. I recently started drawing frames from Jack Kirby and Steve Ditko comic books. This led to copying images from the first great cartoonist, Peter Paul Rubens.

But, in general, I’m done studying with others. “How do you know when that happens?” my student asked me. In my case, I realized that the time I was spending traveling to the Art Students League of New York from Rochester would be better spent in my own studio working.

“What comes after I’m done studying with you?” she asked. Go out and paint (which students should be doing anyway). If you like the social side of classes, find a painting buddy or join a painting group. We make the most progress when we’re picking up our brushes several times a week.

Jean Cole’s painting on Clary Hill. She just came back from my Pecos workshop. The goal ought never to be to make ‘mini-me’ painters, but to develop each person’s own style.

I’m doing a FREE Zoom workshop on Friday, October 2 at 5 PM. Consider it Happy Hour, and join me with a glass of wine, a spritzer, or whatever else. We’re going to talk about studying painting. What should students expect to get from a workshop or class? What should teachers offer? Have you always wanted to try painting but been afraid of classes? Are you taking classes but want to get more out of them? Join us for a free-ranging discussion.

While this is in advance of my Find your Authentic Voice in Plein Air workshop in November in Tallahassee, everyone is welcome. There’s absolutely no charge or obligation. Signups are already brisk, so register soon!

October 23, 2018

Travels with Poppy

I have many friends and I love them all, but painter guests are the best treat of all.

Autumn morning, by Carol L. Douglas

Poppy Balser is teaching a workshop in St. Andrews, NB, this week. My house is just a hop past the border, so she came down at the end of last week to paint.

It wasn’t the Saxby Gale, but her arrival coincided with some fierce wind. It was so high that the sensible plein air painter stayed home. But we’d waited a long time for this painting opportunity, so we put on our warm clothes and headed out.

Last week I gave you a 40-mile circuit of painting locations in midcoast Maine. That was from memory. I can now tell you that it will take you a full day to drive it and take reference photos. Stopping to paint draws it out substantially. Poppy took about a thousand pictures. I took far fewer, but I live here.

Under the Marshall Point Light, by Carol L. Douglas

Marshall Point is windy enough on a normal day, and it was brutal on Friday. The only way to paint was to haul our stuff down the rocks and hunker in the shadow of the lighthouse. It’s not so far, but it is rocky going. “How’d you get down there?” a few intrepid tourists asked. The real question was how we were going to drag our gear back up.

On Saturday, we found another protected niche behind rocks on Beauchamp Point. It was a little bowl that reflected sunlight, and it seemed almost warm. We could take our time, at least until we decided, mid-afternoon, that we needed dinner.

Sunset, by Carol L. Douglas

The sun sets here at 5:30, but Rockport harbor is set within hills. The light fails even earlier. We always think of Nova Scotia as north, but it’s in fact almost due east. Digby, where Poppy lives, is straight across the Bay of Fundyfrom Grand Manan Island, which lies off the coast south of Lubec, ME. As the bird flies, Rockport is closer to Yarmouth, NS than it is to Boston, ME.

But Nova Scotia is on Atlantic Time, which means the sun sets an hour ‘later’ for Poppy. By Christmas, we’ll be experiencing sunset at 4 PM here. This is why I support efforts to put Maine on Atlantic Time.

Poppy in her painting-during-hunting-season cap.

All too soon, it was Sunday and time for Poppy to leave. We solemnly agreed she would depart by noon in order to be over the Airline before dark and in St. Andrews by a reasonable hour. We only ran over by an hour, which has to be a record in promptness.

For our last paintings, I took her to an otherworldly, exposed, out-of-time place to paint: Clary Hill. It was blustery and 39°. Up we ambled, along the Land Trustpath, then up the lane to where three birders were silhouetted against the sky. They’re there every time I visit.

Poppy stopped and asked, “is that gun or a dump truck?”

Off Clary Hill, by Carol L. Douglas

We counted back from deer season. Yes, it is bird season right now (Maine’s and the maritime provinces being almost the same). But the shots were coming from across the valley so we carried on.

A short while later, hunters passed us on the lane. Poppy was wearing an orange hat, so we weren’t panicking. We were eventually foxed, however, by the sound of guns behind us. It was just unnerving. But when we left, the birders were still at their posts, high on the hill.

September 12, 2018

Rachel’s garden

One of the great virtues of old age is knowing that small problems are transient. So is bad painting.

Rachel’s Garden, by Carol L. Douglas. Watercolor on Yupo, full sheet.

Plein air events require that you churn out paintings despite the weather. The caterers, the hall, the advertising and the auctioneer cannot be easily rescheduled. The wet, whipping show must go on. I’m not doing an event, but my goal for this residency is to paint outdoors despite the weather.

September can be the worst month for this, because it’s hurricane season along the Atlantic coast. We aren’t in as much danger here in Maine, but we often get the sloppy dregs of other people’s storms.

Neither Monday nor Tuesday were good painting days. On Monday, there were cutting winds, compensated in part by a dull pink sky that hung around all morning. Tuesday, it simply poured.

Yesterday (9/11) was a national day of mourning that I was determined to avoid. It’s also the anniversary of my mother’s death four years ago. Here at Rolling Acres Farm, I’m surrounded by young people and creative ferment. I was grateful for that.

Painting with Rachel Alexandrou in the rain. Photo courtesy Rachel Alexandrou and Maine Farmland Trust.

The barn here is built on the standard New England plan: hayloft above and animals below. My parents owned such a barn for fifty years, so I am as familiar with this model as I am with the lines in my own face. Perhaps there was a painting of gentle remembrance in the undercroft’s murky light. No luck; it is filled with the timbers from the original loft.

Rachel Alexandrou is the resident gardener here. Her garden is very different from the ordered rows of my youth. It’s beautiful and productive, but also very unstructured. It would have been easier to paint a slice of it up close, but that wasn’t possible in a pouring rain. Besides, I was in no mood to “keep it simple,” as a sensible painter would.

My childhood home, from History of Niagara County, N.Y.,1878, by Sanford & Company.

The garden is bracketed by a dead sapling and a Black Walnut. This tree is common in America’s heartland; a massive one was already middle-aged in my parents’ lawn when their house was drawn in 1878. It was still there when the house was sold three years ago. While Black Walnuts are valuable timber trees, they’re also allelopathic; meaning they kill any young plants trying to get a footing near them. The one at Rolling Acres Farm is the first I’ve seen in Maine, but I didn’t want to paint it. I find them threatening.

That same black walnut in 2010.

I set up under a porte-cochèrethat connects the house and barn. Rachel has been experimenting with making Black Walnut ink, so she joined me.

The mist and rain came close to defeating us. I was further hampered by not being able to find my palette. The Maine Farmland Trust is dedicated to environmental stewardship, so there are no plastic plates. I used a paper one for a palette, not too successfully.

Rolling Acres Farm (unfinished) by Carol L. Douglas, was painted Monday.

I quit as dusk neared. It was then that I noticed I had a very soft tire. My car just isn’t up to the rocky tracks I’ve been subjecting it to. A slow drive into Damariscotta and an air compressor, and I could head back to Clary Hill to see if I’d dropped my palette there. I scouted along the lane to no avail. Walking back, I realized I have a marker light out in my car.

My temporary palette. Ouch.

One of the great virtues of old age is knowing that small problems are transient. So is bad painting. Today or tomorrow, it will all be fine again.

September 11, 2018

Clary Hill

Stone walls are a subtle reminder of the vast human labor that has gone into these fields.

Clary Hill #2, by Carol L. Douglas. Watercolor on Yupo, full sheet.

I ran into Kevin Beers in Damariscotta, and asked him if he’d ever been to Clary Hill, site of a painting by that name by Joseph Fiore. He had, and offered directions. However, knowing where I’m going violates one of my cardinal rules of shunpiking. Instead, Clif Travers and I headed north and up until we found the hill and its blueberry barrens. We did not, however, find the scene that Fiore painted.

I dropped Clif off at Rolling Acres Farm and collected my oil-painting kit. If I hurried, there was just enough time to finish a painting in the waning light. It’s perfectly serviceable, but the composition doesn’t begin to express the skewed perspective on this hilltop.

Blueberries, by Carol L. Douglas. By late September, the red of the blueberry barrens is an impossible color.

In early September, the groundcover is orange-red and the small outcroppings of trees are green. Farther along in the season, the plants will be an impossible, deep, uniform red. There are open patches where nothing grows. In a more conventional landscape, these would be small ponds, but here they are granite, rising to the surface in long fingers.

The farther north you travel on the Atlantic seaboard, the more blueberry barrens you see. They and their close relatives, cranberries, are the only crops that we harvest from wild plants. But blueberries aren’t planted and cultivated in purpose-built bogs, as cranberries are. Instead, blueberries spread from rhizomes. You don’t plant them as much as encourage them. In the right conditions, they grow like weeds, including in my lawn. In that sense they’re more like a natural resource than a crop.

Clary Hill #1, by Carol L. Douglas. Oil on canvas, 36X24.

Wild blueberries bear little resemblance to the fat highbush blueberries that are grown commercially in milder climes. Ours are short, tough, shrubby things, with tiny berries. The wild ones like the acidic soil and abundant sunshine of the far north, and they have their counterparts in the subarctic ring worldwide.

Today rocks can be moved with heavy equipment, but the stone walls that crisscross blueberry barrens were built by unknown, long-gone hands. The berries are hand-harvested as well. That makes the stone wall an integral part of the portrait of a blueberry barren, a subtle reminder of the vast labor that has been done on this spot for generations.

Sketch for the painting at top.

On Sunday, I went back again with watercolors. As I was setting up, a birder stopped by. He’s been visiting Clary Hill for forty years, and encouraged me to cross the gate and walk to the top. There, laid out below me, was Joseph Fiore’s vista. I would have had to trespass to get his exact view, but the wishbone track peters off to the right, just as he painted it. Far in the distance is the coast—St. George, perhaps, or Owls Head.

Just like old times!

I was just settling down to work when my daughter Mary showed up. Our phones location-share, so she drove over from Augusta to find me. Mary traveled across Canadawith me, studying and reading while I painted. It was like old times. She did homework while I painted, on a barren hilltop in the middle of nowhere.