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Seven days of wood smoke and crackling leaves— The Heidelberg School

An autumn morning, Arthur Loureiro, 1893
I’m in Maine for my last 2013 painting workshop! The frost isn’t quite on the pumpkin (at least not in Rockland or Rochester) but autumn is in the air. I’m leaving some wonderful fall landscapes for you.
The Australian Impressionists are another group of painters I’ve shamefully neglected. The Heidelberg School derived its name from the then-rural suburb of Melbourne called Heidelberg, where the first painters in this group found their subject matter.
In August 1889, several  Heidelberg painters staged the 9 by 5 Impression Exhibition in Melbourne. Most of the 183 works in the show were painted on 9 by 5 inch cigar-box panels scrounged from local tobacco shops. The show received the usual derisory comments from the art establishment but is now regarded as the landmark event in Australian art history.
Moonrise, David Davies, 1894

Let me know if you’re interested in painting with me in Maine in 2014. Click here for more information on my Maine workshops!

Seven days of wood smoke and crackling leaves— Jean-Baptiste-Camille Corot

A Road in the Countryside, Near Lake Leman, Jean-Baptiste-Camille Corot, 1845-55
I’m in Maine for my last 2013 painting workshop! The frost isn’t quite on the pumpkin (at least not in Rockland or Rochester) but autumn is in the air. I’m leaving some wonderful fall landscapes for you.
Jean-Baptiste-Camille Corot was so repressive in his color sensibility that sometimes it’s hard to know what season he was painting in. In a way, that’s no surprise; he had a narrower range of pigments available to him than the Impressionists who followed him. When he was doing his early plein air travels in Italy, there weren’t even paint tubes. (They were invented by an American painter, John Goffe Rand, in 1841.)
Nevertheless, Corot managed to anticipate the major theme which plein air painting continues to mine almost 200 years later—a fresh, vigorous painting style that describes the landscape without getting unduly hung up on the details.
The Bridge at Narni, Jean-Baptiste-Camille Corot, 1845-55

Let me know if you’re interested in painting with me in Maine in 2014. Click here for more information on my Maine workshops!

Seven days of wood smoke and crackling leaves—Arkhip Kuindzhi

A Birch Grove, Arkhip Kuindzhi, 1880
I’m in Maine for my last 2013 painting workshop! The frost isn’t quite on the pumpkin (at least not in Rockland or Rochester) but autumn is in the air. I’m leaving some wonderful fall landscapes for you.
I never give enough attention to the great Russian painters, an oversight I can’t correct here since they deserve a full week of their own. But today I’ll content myself with giving you a rather unusual birch grove by Arkhip Kuindzhi.

Kuindzhi frequently painted the play of light through trees. He painted birches countless times, although this is the only nocturne I’m familiar with (although this being Russia, it could just be late afternoon in late October). His paintings are often simplified, stylized, and monumental, which gives an unreal eeriness to his work.

Kuindzhi was orphaned young and grew up terrifically poor. He was forced to find his own art instruction. As an outsider, he was a natural to join the Peredvizhniki—“wanderers” or â€œitinerants”—a group of Russian realists who, locked out of the formal Academy, formed an artist’s cooperative.  Like the Canadian Group of Seven, these painters used landscape painting to make a case for the beauty and power of their native land.
Autumn Impassibility of Roads, Arkhip Kuindzhi, 1872
Let me know if you’re interested in painting with me in Maine in 2014. Click here for more information on my Maine workshops!

Seven days of wood smoke and crackling leaves—Winslow Homer

The Veteran in a New Field, by Winslow Homer, 1865
I’m in Maine for my last 2013 painting workshop! The frost isn’t quite on the pumpkin (at least not in Rockland or Rochester) but autumn is in the air. I’m leaving some wonderful fall landscapes for you.
To say that a work is the greatest painting of a great painter is presumptuous, but I think this painting is Winslow Homer’s best. It was painted at a black moment in our nation’s history: Robert E. Lee had surrendered and President Lincoln had been assassinated just months earlier. The nation was just starting to look at the scope of its loss: almost half a million dead, another quarter million wounded.
This demobbed Union soldier holds his scythe like the Grim Reaper. We know too clearly the nature of the implied harvest. And yet there is something redemptive and hopeful in it, an echo of Isaiah’s “they will beat their swords into plowshares and their spears into pruning hooks.”

The Pumpkin Patch, by Winslow Homer, 1878 (watercolor)

Let me know if you’re interested in painting with me in Maine in 2014. Click here for more information on my Maine workshops!

Seven days of wood smoke and crackling leaves—Vincent Van Gogh

Autumn Landscape, by Vincent Van Gogh, 1885
I’m in Maine for my last 2013 painting workshop! The frost isn’t quite on the pumpkin (at least not in Rockland or Rochester) but autumn is in the air. I’m leaving some wonderful fall landscapes for you.
This painting is one of Van Gogh’s earlier landscapes.  He hadn’t stepped into his mature style, and was still painting more or less as a traditional impressionist. Nevertheless, it works, largely because of the magnificent drawing.
He wrote to his brother Theo about this painting: “You know those three pollard oaks at the bottom of the garden at home; I have plodded on them for the fourth time. I had been at them for three days with a canvas the size of, lets say, the cottage, and the country church-yard which you have.

“The difficulty was the tufts of havana leaves, to model them and give them form, color, tone. Then in the evening I took it to that acquaintance of mine in Eindhoven, who has a rather stylish drawing room, where we put it on the wall (gray paper, furniture black with gold). Well, never before was I so convinced that I shall make things that do well, that I shall succeed in calculating my colors, so that I have it in my power to make the right effect.”

Falling Autumn Leaves, by Vincent Van Gogh, 1888 

Let me know if you’re interested in painting with me in Maine in 2014. Click here for more information on my Maine workshops!

Seven days of wood smoke and crackling leaves—Sir John Everett Millais

Autumn Leaves, by Sir John Everett Millais, 1856
I’m in Maine for my last 2013 painting workshop! The frost isn’t quite on the pumpkin (at least not in Rockland or Rochester) but autumn is in the air. I’m leaving some wonderful fall landscapes for you.
Sir John Everett Millais was an English painter and illustrator and one of the founders of the Pre-Raphaelite Brotherhood. However, as he matured as an artist, he left the rigid constraints and intellectual conceits of that movement behind, much to the critics’ dismay (and our benefit).
Millais may have been making a comment about the social divide between the two girls in middle-class clothing (modeled after his sisters-in-law) and the two working-class girls—or he may have felt that putting two girls in black on the edge of the canvas would overbalance his composition. Likewise, the little girl’s apple may be a comment on original sin, or it may be just an apple.
A Waterfall in Glenfinlas, by Sir John Everett Millais, 1853
Let me know if you’re interested in painting with me in Maine in 2014. Click here for more information on my Maine workshops!

Magic Carpet Ride

Lacey autumn shadows at Highland Park in Rochester.
I am back in Maine and left you a week’s worth of posts, except that yesterday was too wonderful in Rochester to ignore—about 70° F, still air, lovely sky, and good friends.  So why not share our perfect autumn weather so you can enjoy it vicariously along with us?
Virginia draws Lyn painting the Conservatory.
A tropical bougainvillea sneaks its way out of the Conservatory window. It’ll be pulling that finger back inside soon enough!
Rumor has it that it will continue all week, at least here in Rockland. The Northeast in autumn means cool nights, warm days, clear skies, and leaves that crackle underfoot and powerfully scent the air. We’re at the height of fall foliage, so if you can somehow catch a magic carpet ride to Maine and join us for this week of painting, you will not be disappointed.
Carol Thiel painting in the shade.
It was a gorgeous sunrise, there is a clearing sky, and I am off to organize my car and welcome our guests. Blessings! Peace!
Carol drawing in the shade. The power of modern graphics–she reminds me of the start-up screen on my Kindle.

Let me know if you’re interested in painting with me in 2014. Click here for more information on my Maine workshops! 

Paint By Numbers

Cigarette Butts, 2013. Depicts 139,000 cigarette butts, equal to the number of cigarettes that are smoked and discarded every 15 seconds in the US. 
Running the Numbers is a series of digital montages by artist Chris Jordan that looks at American culture in terms of raw numbers. Each image portrays a specific quantity of something across a finite length of time: e.g. the number of gallons of gasoline burned across the US each minute.
“My hope is that images representing these quantities might have a different effect than the raw numbers alone…” he wrote. “Statistics can feel abstract and anesthetizing, making it difficult to connect with and make meaning of 3.6 million SUV sales in one year, for example, or 2.3 million Americans in prison, or 32,000 breast augmentation surgeries in the U.S. every month.”
Three Second Meditation, 2011. Depicts 9,960 mail order catalogs, equal to the average number of pieces of junk mail that are printed, shipped, delivered, and disposed of in the US every three seconds (and which none of us ever look at).
One more workshop left this year, and it starts on Sunday! Join me or let me know if you’re interested in painting with me in 2014. Click here for more information on my Maine workshops!

Appropriation Art

This is classic appropriation art—pirated images, pirated music, slapped together, and politically-motivated. Furthermore, it wasn’t actually assembled by me, and I don’t plan to pay the intern who did the video. In the spirit of the age, he works for food.


One more workshop left this year, and it starts next Sunday! Join me or let me know if you’re interested in painting with me in 2014. Click here for more information on my Maine workshops!

Ruining our schools, failing our children

In the Studio, by Marie Bashkirtseff , 1881
Thomas Sudhof, who shares this year’s Nobel Prize for medicine and physiology, told The Lancet in August 2010 that he owes his powers of analysis and concentration to studying a musical instrument.
“Who was your most influential teacher, and why?” he was asked.
“My bassoon teacher, Herbert Tauscher, who taught me that the only way to do something right is to practice and listen and practice and listen, hours, and hours, and hours,” he responded.
I mention this (which I read here) because I’ve been ruminating this week on a disturbing reportin the Wall Street Journal that, while U.S. baby boomers held their own against workers’ skills in other countries, younger people are lagging behind their foreign peers.
“The study, conducted by the Organization for Economic Cooperation and Development, tested 166,000 people ages 16 to 65 and found that Americans ranked 16 out of 23 industrialized countries in literacy and 21 out of 23 in numeracy. Both those tests have been given periodically and while U.S. results have held steady for literacy, they have dropped for numeracy. In a new test of ‘problem solving in technology rich environments,’ the U.S. ranked 17 out of 19.”
That’s impressively bad, considering that we are the world’s biggest spenders on education.
Is it coincidence that our educational system has been deteriorating ever since we started centralizing it? The boomers who hold their own against their foreign peers, by and large, went to local schools. These answered to a local Board of Education who in turn answered to their local communities.
Now—as teachers, parents and students will tell you—there is no flexibility whatsoever in the system, because administrators answer to central planners. Success is defined as meeting bureaucratic expectations.
In such a worldview, the arts exist only for “enrichment.” They are always the first area trimmed when the pressure is on.
This happens even when all the evidence shows that the arts succeed. Consider the fate of Rochester’s School of the Arts (SOTA). By far the best school in a failing district, it had a graduation rate comparable to the best suburban districts. But when Rochester’s school budget was in trouble in 2009, the first response was to cut more than half of SOTA’s art teachers.
Intellectual gavage isn’t how the human brain functions best, and we clearly have lost something by teaching in this way. If there is such a thing as American exceptionalism, it derived from American creativity. Yes, we need scientists and engineers and Nobel prize-winners, but maybe we’d have more of them if we concentrated more on bassoon playing.

One more workshop left this year, and it starts next Sunday! Join me or let me know if you’re interested in painting with me in 2014. Click here for more information on my Maine workshops!