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Tag: architecture

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Am I getting a little homesick?

Downtown Rockport, 14X18, oil on archival canvasboard, framed, $1594 includes shipping and handling in continental US.

I treasure the time I get to spend with my friend Martha. Since she moved to Scotland it takes planning and effort to see her. And although we have great hiking trails in the US, there aren’t little pubs and hostelries along the way. I’m too old to carry my world on my back. Until I get a burro, my long hikes are going to be in other countries.

As much fun as this trip has been, however, I’m starting to feel a little homesick. This is the downtown block of my home village on the Maine coast.

I painted this with Ken DeWaard. Like everyone else, I can sometimes convince myself I can buy my way into better brushwork (or color, or texture, or whatever). This is, of course, a snare and a delusion.

I admire Ken’s brushwork, so I decided I decided I’d see what he was using for brushes. Sadly, it was the same composite of new and old, pristine and slightly-sticky that was in my own kit. There are no silver bullets. (And nor is my brushwork so terrible; we just want what the other guy has.)

“What is that arc in the water?” my husband asked. It’s the rooster-tail of a lobster boat coming in fast.  That pegs the time as early afternoon.

I’ve been in Britain on another lovely, long, blister-inducing hike. I’ve turned my phone off and while I’m gone, Laura will be running the office. Just email me as usual if you have questions or problems registering for a class or workshop. (Who am I kidding? She fixes all that stuff anyway.)

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Midsummer

Midsummer, 24X36, oil on canvas, $3,188 includes shipping and handling in continental US.

“I really like that painting you did of the flat houses.”

“What flat houses?” I asked, perplexed. I was envisioning the architectural equivalent of Flat Stanley, the children’s book series.

It turned out that she meant Midsummer, above, and she was referring to the paint handling, not the drafting.

I painted this during a residency through Parrsboro Creative. The view overlooks the general store at Port Greville, Nova Scotia. To access it, I drove up a side road and painted from the edge of the escarpment, just past a very nice lady’s lawn.

This escarpment roughly parallels the shore of the Bay of Fundy. In places it’s gradual, and in other places it’s a steep, raw scarp.

In Maine, our cliff edges are made of granite, so I was totally unprepared for the edge of crumbly red sand to drop out from under me. My fall was stopped by a thicket of alders growing on a ledge about ten feet down.

I landed upside down but unhurt. After I turned myself around, I gathered my tools and threw them back up over the brink. Then I figured out how to climb back up to my easel.

It’s all in the drawing, even in plein air.

Cumberland County, Nova Scota is full of this crumbly soft red sandstone-and-soil mixture. It’s unstable, which makes rock-climbing risky. At Cap d’Or, the cliffs are a few hundred feet tall, but you wouldn’t be long for this world even if you miraculously survived the fall; there’s a wicked riptide. Every major storm causes erosion, so it’s a constantly-shifting shoreline. That in turn reveals a new cache of fossils, minerals and gemstones after every weather event; the area is world-famous for fossils.

These are also the highest tides in the world. I visited Joggins Fossil Cliffs to walk on the beach and perhaps paint. I’d arrived at the wrong hour. There’s a narrow window of time where you can be at sea-level; the tide rises so fast that it will cut off your escape.

These double-bay houses, so typical in Britain and the Canadian Maritimes, are not common here in the US; however, there are some here in Maine. We also have old-fashioned general stores like Dad’s Country Market, towards the left in my painting.

This painting took two full days to complete. The first was spent in drawing out the architecture.

“Draw slow, paint fast,” a student once told me. It’s an excellent motto, because the more time one spends on the drawing, the less floundering one does in the painting.

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