Schoodic Institute Archives | Page 3 of 4

August 10, 2016

Jack Pines and Kentucky Fried Chicken

Schoodic Point breakers by Lynne Vokatis (finished).

A visitor mentioned that Acadia’s Schoodic Peninsula seems much busier than it has in other years. I’d been thinking much the same thing. If so, that means the National Park Service’s investment in the Schoodic Woods campground has paid off handsomely.

My class was so gung-ho that they started 45 minutes early. Since I’m a morning person, that was fine with me, but I warned them they must get adequate rest. They wanted to finish paintings they’d started on Monday before we moved on. To that end, we returned to Schoodic Point.

Schoodic Institute provides bag lunches and snacks so we can stay out all day. At 11 AM we had fresh zucchini bread and grapes and moved to a far corner of the Point, where stunted Jack Pines break up the rock slopes.

A student asked me what a Jack Pine is. “Something Tom Thomson and theGroup of Seven painted,” I answered. I didn’t think it was a real species, just a term for a windblown boreal tree. Turns out I was wrong. Pinus banksiana is a tree of Canada that breaks out into a few boreal forests in the northernmost United States, including at Schoodic Point.

Lynne and her Jack Pines.

I think it’s helpful to know something about the rocks and trees one is painting. Schoodic is famous for basalt dikes running through older pink granite. Granite tends to fracture horizontally; basalt fractures vertically. Both fracture in cubes that then wear down with glacial slowness. Knowing this makes our drawings more accurate.

I gave Lynne a difficult assignment: to draw the Jack Pines using color in the place of value, like the Impressionists did. She was then to integrate local color into her work without doing any blending at all. The result was pure Tom Thomson.

Our new location among the pines was about as popular as Times Square. A stream of people continuously stopped to talk to my painters. I was debating what to do about that when my pal Renee Lammers stopped by with a bucket of Kentucky Fried Chicken for us. The party was on!

“Schoodic Point,” by Corinne Avery (finished).

While Renee sold paintings and Sketch-n-Cans to the constant stream of visitors, my class painted, sketched and laughed. And then, at about 4:15, it was suddenly lights out for all of us. I tried to demo about color temperature and found myself hopelessly confused. My students felt the same way. We packed up and headed in for a rest before dinner.

Discussing drawing rocks with my students. (Photo courtesy of Susan Renee Lammers)

One only gets a certain number of clear-headed work hours in a day. We like to believe we can push past that, and we can, for a limited time. But the quality and assurance of our work declines.

At six, we had a lobster feast in the cool, fresh air, and by 7:30, we were all tucked up in our rooms. All that fresh air, sunlight and exercise had taken its toll. We hope to catch the Perseid Meteor Shower later this week, so we can’t wear ourselves out now.

August 9, 2016

Indestructible

“Rockbound coast of Maine,” 8X6 demonstration painting, oil on canvasboard, Carol L. Douglas

One of my workshop students was seriously injured in a car accident last year. Because of this, I’m trying to limit our rock climbing. Plein air painting is hard enough without physical or spatial problems.

With this in mind I encouraged her to paint from just below the parking lot at Schoodic Point. She set up her pastels, did a quick value sketch and immediately moved to color. She’s an excellent composer and her start was fantastic.

Cecilia Chang’s painting of Schoodic Point.

The air was perfectly still when we started painting. Unfortunately, neither she nor I thought to weigh down her Heilman pastel box. The wind rose imperceptibly. Whitecaps began to form and bigger breakers crashed along the rocks.

Lynne’s entire kit flew over onto the rocks with a terrible crash.

If you’ve worked in pastels, you know that the tinkle of broken chalks is the saddest sound known to mankind. An open-stock pastel stick can range from $3.50 to $7.00, and a good pastel artist can carry more than a hundred of them, accumulated over decades and treasured. The proper response to a fallen easel is either copious swearing or copious tears, depending on your personality.

The scene of the crime.

Instead, we squared our shoulders and set to work cleaning up the mess. Miraculously, the box itself wasn’t damaged by the crash. Neither were the Terry Ludwig soft pastels she was carrying. While some of the other brands came from dust and to dust returned, these chalks were unfazed. A soft pastel that can survive the granite of Maine is not to be sneezed at.

On the first day of a workshop my students are usually so gung-ho that I have to drag them away for breaks. This year was no exception. By 1 PM, I was begging them to pack up their easels and eat their lunches. Our situation was untenable. The wind, at around 20 MPH, made the easels vibrate and the work snap around like tacking sails.

Lynne Vokatis’ unfinished pastel of Schoodic Point.

We moved to Arey Cove, which gave us a little protection. There I did a demo while my students ate their lunch.

At 5:30 I told everyone to pack up, as we had half an hour before dinner was served. Lynne was covered in pastel dust. “I think I’d better shower,” she said, and rushed through her packing. Unfortunately, the back door of her SUV wasn’t secured. As she sped around the corner, her art supplies flew out of the back, including her Heilman pastel box on its tripod.

Again, we squared our shoulders. Again we picked up the mess. Again, that box was completely unscathed.

So consider this an endorsement of the Heilman pastel box. Apparently it is indestructible. The same might be said of Lynne. Lesser women (like me) would have cried and quit for the day. But she didn’t let disaster derail her. She told me that her neurologist says to think of such moments as clouds that will shortly move along. Sounds like brilliant advice to me.

Corinne Avery’s unfinished painting of Schoodic Point.

I am participating in two events this coming weekend:

Annual Aldermere Farm Art Show and Sale

Saturday: 9 AM to 4 PM
Sunday: 9 AM to 4 PM

Paintings of coastal Maine, Aldermere Farms, and the Rockport area are featured in this event, which is free and open to the public. The farmhouse is located at 20 Russell Avenue, Rockport.

Wet Paint on the Weskeag!

Sunday, starting at 4 PM

Organized by The Kelpie Gallery in South Thomaston, this event supports the Maine arts community and the Georges River Land Trust.

Thirty juried artists will paint along the Weskeag River and Marsh and St. Georges River. The party starts on Sunday with an elegant cocktail reception at 4pm. At 5 PM dueling auctioneers Bruce Gamage and Kaja Veilleux will sell the work

Tickets are $40 in advance for GRLT members/$50 for non-members and day of auction. For more information, call 207-594-5166.

August 8, 2016

Wherever we go, that’s where the party’s at

“Parker dinghy,” by Carol L. Douglas. 8X10, oil on canvasboard.

On Friday, Brad Marshall and I had only a short time to paint before he had to head back south. We decided small watercolor sketches were all we could pull together in the time we had. Sandy Quang is my former studio assistant and is now working at Camden Falls Gallery this summer. She joined us with her sketchbook before work. Since we weren’t using easels, the simplest thing was to dangle our feet in the water and draw the lobster boat on the next dock.

Sandy, me and Brad hard at work at Camden harbor, with our feet in the water. (Photo courtesy of Kathy Jalbert)

Across the harbor, another painter was working away at his easel. It was George Van Hook. I called him on my cell phone to say hi, since my voice would never carry that far over open water. He was ready for a short break so he came over and joined us on our dock.

I never know who I’ll see at Camden’s Public Landing, but there’s always someone I know—a sailor, another painter, or a Camden or Rockport friend just enjoying the sun. And I’m always meeting new people, too. For me, plein airpainting is often about balancing the party with the need to do serious work.

We didn’t have time to paint anything polished, so we each did little watercolor sketches before saying goodbye. This was mine.

Later that day, my husband and I joined painter Bobbi Heath and her husband aboard their lobster boat for dinner. Moored in Tenants Harbor, we were surrounded by wildlife. An osprey took up residence on the mast of a neighboring boat, chirruping to his mate who flew nearby. Suddenly he dropped into the sea like a rock, and rose with a fish in his beak—and then he was gone, bringing home the bacon. A seal poked his dappled nose out of the water nearby. Black Guillemots—a kind of puffin—potted around us as we ate. The light dropped and the evening breeze picked up, and we glided back to shore under a sliver of new moon.

Lobster dinner on a lobster boat. (Photo courtesy of Douglas J. Perot)

Today I start a series of wild perambulations, which include Acadia National Park, Scotland, and an Alaska-to-Nova-Scotia painting trip (plus three more events in Maine). I expect to be home for good in mid-September. On Saturday I finished the painting above, which is of a Parker dinghy built on Deer Island, NB. That allowed me just enough time to pack and get to the Schoodic Institute, where I met up with this year’s workshop students.

After dinner at the Commons, Ken and Corinne Avery and I spent some time looking at aurora borealis predictions. Turns out these can’t be made very far in advance, but there was some possibility of solar-wind activity last night. The partly-cloudy sky was predicted to clear by 11 PM.

My first realization is that I need an app for this. My second is that they exist. Since I’ll be spending much of the next month traversing prime Northern Lights territory, I need to figure one out.

Alas, the aurora borealis didn’t show up. It’s a whole new week, however, and thePerseid meteor shower is expected to peak on Thursday and Friday. Who needs sleep? I do, of course. But I feel the likelihood of a spectacular night-sky event in my bones.

March 9, 2015

Let’s talk about summer

Sunset off Schoodic Point. Just another day in Paradise.

I’m going to be speakingabout New York painters and their relationship with the Maine Coast at the Moore Auditorium in Acadia’s Schoodic Institute on August 12. This is scheduled concurrently with my workshop at Schoodic from August 9 to 14. The talk is free, and if you’re in mid-coast Maine that week, I hope you join us.

There are four spots left in the workshop. Last year I erred in letting a few extra people sign up, on the assumption that someone would drop and it would all work out. That didn’t happen, and we had too many painters. This year, I’m holding the line strictly at 12 participants, so if you want to come, I recommend you hold a place. From past experience, I’m confident that this workshop will sell out.

Painting the view from Mt. Battie during last summer’s workshop.

We have designed this workshop to include room and board so you can concentrate on painting. Schoodic is an unspoiled gem of the Atlantic coast. Pounding surf, stunning views of Cadillac Mountain, and veins of dark basalt running through red granite rocks are the dominant features of this “road less traveled” in Acadia National Park. Pines, birch, spruce, cedar, cherry, alder, mountain ash, and maples forest the land. There are numerous coves, inlets and islands. And your private room, shared bath, room and board and instruction are just $1150.

Some of last year’s participants asked for more surf, so I went up to Acadia and got them more surf. But they won’t get crowds; Schoodic is the quiet side of this monumentally popular park.

My long-term monitor, Sandy Quang, will not be with us at Acadia this year. She has finished her MA in art history and is working at Christie’s in New York this week, the beginning of her career in curating art. We will enjoy the time we have left with her here in Rochester while knowing that she’s on to bigger and better things. Sandy has studied on and off with me for ten years, and it’s a bittersweet parting. “You give them roots and you give them wings,” someone remarked to me last week. One thing I’m sure of: Sandy will be a painter for the rest of her life.

Stacey painting on a floating dock last summer.

Click here for more information on my Maine workshops! Download a brochure here.

February 5, 2015

All good things

It’s helpful when you can stay on the right side of the road. It wasn’t alway possible.

As I toured the Institute grounds, the first fat flakes started to fall. I’d been warned that a significant storm was expected at midday and would move in fast. I don’t have studded snow tires; I don’t even have snow tires. For a few minutes, I thought I’d left it for too late.

The first sign of the weather changing was the wind picking up.

Still, Western New Yorkers are accustomed to snow. Buffalo, Rochester and Syracuse have the highest snowfall of all American cities. Our storms are amplified by the open water of the Great Lakes.

Drift ice is among my favorite things.

Coastal Maine adds a fillip to the experience: a fine layer of ice under its snow. The first twelve miles of our trip was on back roads that wouldn’t see a salter or plow for a day or so. The Mainers might have been slithering sideways on the hills in their pickup trucks (which are notoriously bad on snow) but they were taking it in stride. So did my little Prius.

Snow-covered rocks off Blueberry Hill.

The northeast is having its second hard winter in a row. Very few people visit Maine in January, but it is beautiful. I no longer do much wintertime plein air work. Still, our world is lovely in the deep snow.

The open road doesn’t look too bad, does it? But there’s absolutely no traction and my poor little Prius was choosing its own route.

Ah, home sweet home…

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 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.

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.

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 brochurehere.

January 23, 2015

Heading East Northeast

Winter on the Schoodic Peninsula.

Having finished my work in Waldoboro for the moment (whew!) I’m heading for Acadia today—right into a winter storm. This is the kind of vagary my southern friends have no experience with, but which we northerners anticipate. My car is not brilliant at bad roads, but I’m carrying a shovel, blankets, Clif bars, a candle and matches, and I can wait out any disasters.

The part of Acadia I’m heading to is that northernmost corner near Winter Harbor.

Acadia is the oldest national park east of the Mississippi, founded in 1919. The Schoodic Peninsula Historic District near Winter Harbor dates from 1929. Specifically I’m headed to this area, the northernmost part of the park.

In 2002, the National Park Service acquired the former naval base located on the Schoodic Peninsula and renovated it into the Schoodic Education and Research Center. This is where our 2015 workshop will be based.

Schoodic Peninsula surf.

My kit is in the back of my car, but the likelihood of painting in the teeth of a blizzard is slim. Still, I do have a watercolor set and if the visibility is not completely whited out, I expect I can do a study or two. If nothing else, I can check out the accommodations for my students.

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.