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Category: learn to paint

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Sometimes things don’t go as planned

A whole pile of potential. Stock cut for seven frames.
I chose a thin, contemporary molding for my show at Roberts Wesleyan’s Davison Gallery, because it’s a sleek, contemporary space. I had a feeling this frame stock might be somewhat slender for such large pictures, so it was no big surprise when I released the clamp from the first frame I’d glued and the joints peeled apart in my hand. No matter how strong the glue, wood is heavy and a tiny contact surface can’t support a lot of weight. (Frame shops use V-nailers or underpinners to join miters, but they start at around $1200, so aren’t appropriate for the casual framer. And in most cases, glue is sufficient.)
I prefer doing this job in my outdoor wood shop but it was 12° F. when I started. The glue would have frozen instead of setting. Next best place: my studio. The tools you need (in addition to a miter saw) are a drill, wood glue, strap clamps, a paintbrush to assure you’ve applied the glue evenly, and a mallet to tap the corners down so the two sides are flush with each other.
We’re a one-car family and my husband was off playing his bass. That might have been a real problem, but I was saved by technology. I visited a big box store’s website, identified the correct flat corner braces, found a store that had enough of them in stock, and bought them online. They texted my husband’s phone when the order was ready for pickup. He collected them on his way home. It was a matter of two hours to install the plates, and now I’m relatively certain that these frames could survive a minor earthquake.
You’re not going to get that mending plate on there straight without carefully marking and drilling pilot holes. At this point, the joints have been glued and clamped; the mending plate is the icing on the cake.

Interestingly, the depth of the molding wasn’t even from piece to piece, but as long as the mending plate was the same distance from the edge, I was happy.

I’ve posted about how to make frames before. If you can cut an accurate 45° angle (which is as much about having a good saw as it is about having woodworking skills) you can make decent frames in a home workshop. Affixing mending plates to a thin molding is a bit trickier, because they must be aligned perfectly so that they don’t show from the front and don’t impede installing the painting from the back. The only way I know how to do that is by careful marking and drilling pilot holes.
Two hours later, a whole heap of happiness. I can curse the never-ending winter or thank God I have a spare room in which these big frames can rest until they’re needed. Which will be tomorrow morning, of course.
Despite the supports, I’ll affix the hangers to the stretchers, not the frames. No sense tempting fate.


Let me know if you’re interested in painting with me in Maine in 2014 or Rochester at any time. Click here for more information on my Maine workshops!
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Surprise, it’s snowing!

Wharf Scene in Winter, c. 1910, Charles Salis Kaelin
We woke up to yet another grey, snow-covered day with a temperature of 12° F. and all-day snow on the forecast. It’s a good thing snow is beautiful, and ever so paintable. Here are three snow scenes from American masters.
Charles Salis Kaelin was one of the earliest American exponents of Divisionism (or Chromoluminarism). This is the style invented by Georges Suerat, where colors are separated into individual dots or patches which interact optically.
 Kaelin was a respected member of the art colony at Rockport, Massachusetts. 
Snow scene by Emile Albert GruppĂ© . He painted many variations on this theme—mountains, stream, snow.
Emile Albert GruppĂ© was born in Rochester, NY, but spent his formative years in the Netherlands. He was the son of painter Charles P. GruppĂ©. The family returned permanently to the United States in 1913 as the political situation in Europe deteriorated. GruppĂ© was one of the most famous of the Cape Ann painters, establishing himself in Gloucester, MA.
Winter Rocky Landscape, William Partridge Burpee. There’s a hint of Spring in there.
William Partridge Burpee was born in Rockland, ME. He studied with marine painter William Bradford in the late 1870s and began painting in the luminist marine style of Fitz Hugh Lane. He began showing in Boston in the 1880s but did not take up pastel until after a Grand Tour to Europe in 1897, where he became more familiar with impressionism. In 1914, he returned to his birthplace, where he died in 1940.
Let me know if you’re interested in painting with me in Maine in 2014 or Rochester at any time. Click here for more information on my Maine workshops!
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You’re invited…

Join us for the Gallery Opening of

GOD+MAN

Paintings by Carol Douglas


At the Davison Gallery, located in the Cultural Life Center at Roberts Wesleyan College.

6-10 PM, Friday, March 28

2301 Westside Drive, Rochester, New York 14546


I spend much of my time painting en plein air. The physical environment shows the marks of our existence, our relationship with each other, and ultimately our relationship with God. This visible record is subtle, but once you start to notice it, you realize it’s everywhere.
In mid-October, I returned home after a summer teaching painting in Maine. I had two things to do: put the final touches on my daughter’s wedding and paint the work for this show. What wasn’t on my schedule was another cancer diagnosis.
I’m a systematic person, so I scheduled making canvases during the four-week recovery period between my lumpectomy and hysterectomy. Immediately before my surgery, I drenched the canvases with Naphthol Red, which is a rich crimson color that is an excellent undertone for landscape. I do this regularly for plein air, but the effect of all these looming large canvases dripping blood was disconcerting.
After my surgery, I continued to leak blood. In early February I hemorrhaged, which put my recovery back to square one. I realized there was a connection between my current experience and my current paintings, which were proceeding by starts and fits.
I have tried to let the canvas show through in each of these paintings, because they were literally born in blood. If I’d proceeded along my original course, they would have been polished and buffed to the point where no undertone was visible. But I couldn’t do that, and I don’t regret it.

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Happy Spring!

Orchard with Blossoming Apricot Trees, 1888, Vincent van Gogh.
Today marks the vernal equinox, generally considered the first day of Spring. In the eastern United States, it’s been a dismal winter (which still hasn’t released us from its clutches). We long for Spring.
Blossoming Almond Branch in a Glass, 1888, Vincent van Gogh.
Vincent van Gogh painted a series of flowering almond trees in Arles and Saint-Rémy in 1888 and 1890. When he arrived in Arles in March 1888, the orchards were about to bloom. The blossoms ensnared him. In a month he produced fourteen paintings of blossoming peach, plum and apricot trees. “I am up to my ears in work for the trees are in blossom and I want to paint a Provençal orchard of astonishing gaiety,” he wrote.
Van Gogh’s Almond Tree in Bloom, 1888, resonates with me because it is a baby tree. So often we only see the picturesque in old trees.
The most well-known of his blossom paintings, of flowering branches against a blue field, has been reproduced on everything from ipod hardcases to duvet covers to switch plate covers.
It’s a pity this painting has been so misused, because he painted it in commemoration of the birth of his namesake nephew. “How glad I was when the news came… I should have greatly preferred him to call the boy after Father, of whom I have been thinking so much these days, instead of after me; but seeing it has now been done, I started right away to make a picture for him, to hang in their bedroom, big branches of white almond blossom against a blue sky,” he wrote.
Van Gogh was already studying flowering trees before he went to Arles. His Japonaiserie Flowering Plum Tree (1887, after Hiroshige) is a study in the Japanese woodcut style he admired so much.
I love orchards at any time of the year, but particularly in spring. This year I am feeling the same stirring to be out in an orchard when the apple trees blossom.

Let me know if you’re interested in painting with me in Maine in 2014 or Rochester at any time. Click here for more information on my Maine workshops!
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Waves of Mercy and Grace

Waves of Mercy and Grace, by Carol L. Douglas. Those darn rocks are standing out like their own planet. Need a little refinement.
Yesterday was a perfect day—warm and bright. At noon, I took a break and walked with my posse. First time in weeks we’ve all walked together, because the weather has been atrocious.
The sky was a lovely cornflower blue. Of course even a perfectly clear sky isn’t uniformly blue. Today it was most intense over Jennifer’s house, edging to a softer blue to the south. The horizon softened to a pale tone. It was the perfect sky for my painting.
Three colors for the sky.
I generally mix three different colors for any object: light, medium and dark. A simple blue sky is no exception to that rule.
Detail from Waves of Mercy and Grace. Cute kids.
I set out intending to paint the Maine coast, but it turns out it’s a painting of Australia. The three little boys in this painting are my cousin’s kids, with whom I spent a magical day climbing on rocks. The sea is the color of the Indian Ocean, not the North Atlantic. Painting it gave me a mighty hankering to go back there.
Let me know if you’re interested in painting with me in Maine in 2014 or Rochester at any time. Click here for more information on my Maine workshops!
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A great week to be from Buffalo

Joseph the Carpenter, by Georges de la Tour, c. 1645, is painted in the style called tenebrism, using exaggerated chiaroscuro with violent contrast, where darkness becomes a dominating feature. Despite that, it’s a sweet father-and-son image. Note the prefiguration of the cross in the auger.

Today is a wonderful convergence of two ethnic celebrations—St. Patrick’s Day (yesterday) and St. Joseph’s Day (tomorrow). In my home town of Buffalo, NY, both are big deals.

In the Spanish and Italian Old World, St. Joseph’s Day is also Father’s Day, a tradition that ties neatly with St. Joseph’s primary role as adoptive father of the Christ child.

Saint Joseph, Jusepe de Ribera, c. 1635, is also a tenebrist painting, but the effect is radically different from de la Tour.
The elements of an Italian-American St. Joseph’s Table vary depending on the family, but they are always meatless since the holiday falls during Lent. Where I’m from, Italians include lentil soup, pasta con sarde with mollica, olives, fennel, oranges, baccalà, vegetables (including cardoons), frittatas, and of course a gazillion cookies and breads. How did St. Patrick’s Day, with its corned beef and cabbage, soda bread and green beer, end up overwhelming the far greater gustatory appeal of St. Joseph’s Day?
Oh, well. St. Joseph dominates in the world of art. I don’t believe there’s a single great painting of St. Patrick out there. William Holman Hunt’s A Converted British Family Sheltering a Christian Missionary from the Persecution of the Druids will have to stand in.

A Converted British Family Sheltering a Christian Missionary from the Persecution of the Druids, by William Holman Hunt, 1850. As a pre-Raphaelite, he rejected chiaroscuro, but the end result doesn’t look much like 15th century Italian painting.
A reminder: this is a great week to have your Vitamin D levels checked. They’re always at their lowest at the end of a long winter.

Let me know if you’re interested in painting with me in Maine in 2014 or Rochester at any time. Click here for more information on my Maine workshops!
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The world’s longest winter

Happy times in my Saturday class.
We’re really plein air painters in my studio, and by late March we are fidgeting and whining to go outdoors. This morning it’s 4° F. out there, however, which is how the whole winter has gone. We’re inside and we still must paint. So what do we do? Fish among common household objects, of course, to create still-lives that both challenge and entertain.
Brad painting gift bags.
Nina’s second painting! Whoo hoo!
Nathan and Jingwae are prepping for college, so a reflective glass arrangement suited them. (Carol T. opted for that, too.) Brad and Sandy decided to paint luminescent gift bags. And Nina—just starting her second painting—did a still life of apples in a Chinese antique scoop.
Sandy painting gift bags.
 We’ll be having a student show opening June 1 at VB Brewery in Victor. Mother Nature may be keeping us indoors, but we still must paint.

Nathan painting reflective glassware.

Jingwae painting reflective glassware.
Let me know if you’re interested in painting with me in Maine in 2014 or Rochester at any time. Click here for more information on my Maine workshops!
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Secret superpower

The harvest is plentiful, but the laborers are few, by Carol L Douglas. Still in draft form, I’m afraid.
I generally feel about clouds the way Winslow Homer felt about rocks: they’re easy to paint. So I wasn’t expecting to be tripped up by this painting. But when I finished my first iteration, I realized it was too monochromatically grey.
I mixed three different greys and went at it with both hands. Most of us Lefties have a secret superpower—we’re more or less ambidextrous. I can write and paint with either hand, although my right one tires more quickly.
Added greys. I think it actually looked better here than when “finished.”
I don’t usually paint two-handed, because I only have one brain. In certain situations, such as when laying down large masses or alternately painting and blending, it’s a useful skill.
Two-fisted painter.
Unfortunately, I fixed the chroma problem but seem to have lost the original organization. I’ll go back in with some darks when this has a chance to set up, but for now I am moving on to my next painting. I have to hang this show a week from tomorrow.

Let me know if you’re interested in painting with me in Maine in 2014 or Rochester at any time. Click here for more information on my Maine workshops!
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Who knows the places you’ll go?

Bo Light, by Matt Menzies, 2014; photo Rob Chron Photography.

Those of you who’ve been around my studio for a while probably remember Matthew Menzies, who is now a junior at Rhode Island School of Design (RISD). He recently built what he calls a “Bo light.” This is modeled after a very long staff, or bō, used in Japanese martial arts.

The prototype consists of a battery powered Led strip inset into a turned, tapered stick.
When Matt was in high school, he was an avid painter. He’s also a serious student of the martial arts. That makes this light, in his hands, a pretty awesome paintbrush.  

Bo Light, by Matt Menzies, 2014; photo Rob Chron Photography.
In art, more so than in any other discipline, nothing in your background is wasted. Everything you’ve done informs your present, but very little of it predicts where you’ll end up.

Bo Light, by Matt Menzies, 2014; photo Rob Chron Photography.
Matt started as a painter and is now a furniture-design major. Who knows what he’ll do for a career? The painter Eric Hopkins started as a glass artist, working for six years as an assistant to Dale Chihuly. What I’ve seen of his glass work is lovely, but so also is the painting for which he ultimately became well known.

By the way, Matt accepts commissions.

Let me know if you’re interested in painting with me in Maine in 2014 or Rochester at any time. Click here for more information on my Maine workshops!
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All Flesh is as Grass

All Flesh is as Grass, 36X48, oil on canvas, Carol L. Douglas.
My studio is in my house, so when Winter Storm Vulcan brought blizzard conditions to Rochester yesterday, it didn’t give me day off. Oh, well; I was painting snow anyway.
This apple tree was around the corner from my house. The landowner once told me to pick all the apples I wanted. He’s been gone for several years and his house has stood vacant, but still the old tree thrived.
This year, we picked an eight-quart basket for Thanksgiving pies. Shortly thereafter, a construction crew moved in to start a roof-to-foundation rehab. The first thing to go was the dated landscaping, including this old tree.
There are some things I may tweak, but I’m moving on to finish my fourth painting for my upcoming show at Roberts Wesleyan’s Davison Gallery.Â