It’s almost 4pm and I’m taking a break from the second go round of framing.
This is a profession I know well. I have been a picture framer off and on for thirty years and for most of that time I made a living doing it. Now it’s only once or twice a year that the studio is transformed into a frame shop. The workspace will never never be as small and confined as the closet in which we worked at the Harvard Coop but it is crowded this week in here and Finnegan and I are stumbling all over each other…
She has a very delicate way of maneuvering past tools and frames and original oil paintings and tiptoeing her way to find her favorite squeeky toy. She is quite the musician and I’m pretty sure she chooses among the three we have here according to their scales. We’re currently reviewing our Frank and Julie party mix and she is partial to the Frankie Capp Orchestra swing section. (You think I’m kidding …)
Meanwhile, here’s a look at the still life table cum framing table…
Is that art imitating life … or …me imitating art ?
Already knee deep in July…or is that the corn being knee high by the 4th of July ?
Either way the framing has begun for the Granary Show and here’s a look at our morning excursion to fetch the frames and paintings. We arranged to have the largest paintings done at the same time which meant only one trip up with the trailer. Both the frameshop and the photographer’s studio are within 5 miles of one another and about 20 minutes drive from the studio.
My apprentice was concerned when we hooked up the trailer that she might not be needed for this trip…thus the batting of the big brown eyelashes…
How could I resist one so ready to work…
And off we go… this is the shop I worked at while saving and preparing to give painting my full time attentions.
They are the friendliest and most helpful folks around and make it a true pleasure to work with them…
With the frames loaded it was on to see John…
John Corcoran, the king of the camera, is the man behind the magic that allows me to bring my work to the big and small screen. Every painting goes to him to be shot in multiple formats so that I have a permanent and accurate record of the image. Nothing gets by this detail guy and I am forever grateful for his stunning work, jovial good nature…and steamed dumplings ! You can check out some of his own creations at Sterling Commercial Photography.
He and Pat always have way too much fun…
But time’s a-wasting and we’ve gotta get this show back on the road and home to the studio which is beginning it’s annual pre-show craziness…
My apprentice and my Lackey have just come in to tell me to get off of this machine and get a move on…
In Mima’s honor, Finnegan and I sat on the quiet sunny summer morning porch and carefully pitted three boxes of sour cherries into Saren’s beautiful bowl… enough for two pies…one for us and one with a Z for Zola and Zack…and Zue.
A few years ago this week I was on pins and needles waiting for the orchard to say it was ok to pick the sour cherries as I was scrambling to include a painting of Mima’s Sour Cherry Pie for the recipe series in the Granary show that July.
The pressure is off this year…all the paintings that can be done are done…and it was almost a zen like meditation to have a whole hour to do nothing this morning but sit and pit.
Many thanks to John O’Hern and the editors of the American Art Collector Magazine for showcasing the painting Temple of My Familiar in their latest issue. You can access the magazine on line if you are a subscriber or find it at most book stores to read the entire article. Above is a link to the AAC website and below is an excerpt from the article. The painting is on exhibition at the Granary Gallery on Martha’s Vineyard.
There’s a thunderstorm overhead so I’ll not tempt the fates by taking the time to add commentary…will just list, in chronoligical order, these recent photos of the ever-so-painstakingly-slow-progress of the painting. I can’t seem to pick up the speed or to compromise on the detail or to find enough hours in the day…but here’s some of the paint I have laid down this week…
My new alarm clock is programmed for a 6am feeding…no matter what. And with that change in my morning routine I am finding myself way ahead of the game…breakfast eaten, walk taken, gardening done in the coolest part of the day and most of all…puppy played out and ready for a nap …and all by 8am.
So here’s a few pics of the last week’s worth of progress. Lots of time spent tightening up areas that I thought were finished. I reworked the dock area…there are more layers of detail in this section alone than I have hairs on my head…(I know, I know…that’s why I always wear a hat but you get my meaning)
Then I moved over to rework the upper left hand corner and added the suggestion of a boat behind the tackle shack, some clouds along the horizon, a few colorful kayak paddles, and a soaring gull to bring some life to the field of blue…
Then down to the bottom and the decisions about what to do with the foreground. As the tide changes this area migrates from lacily raked seaweed to a carpet of small pebbles to a foamy lipped saltwater bay…I wanted to bring the seaweed in to give a gesture of some motion and to keep the eye moving around the composition but I wasn’t sure I could do justice to the complexity of the colors and fibers.Then I found a liner brush that I’d never used before which was perfect for dragging out long sinewy lines…
And, in between training the “OFF” command and teaching my apprentice the proper use of a gardening glove …
I have completed the pile of drifted wood and ropes and chains…
and moved back over to some more work on the dock…
Which brings us up to today… the 29th of April… and in spite of the many, many more interruptions than I anticipated this painting can now, hopefully, kick into high gear…or make that a kick in the painter’s gear box… and I can have it finished and drying by the end of next week.
one thing I have come to know for sure is that every painting evolves in its own time.
There are some which have been incubating on the back burners of my mind for years, nay decades…and others that literally awaken out of a night’s slumber and push all other work aside and in a wild impatience are painted in a flash.
The oversized ambition of this current work is certainly in the first category and I’ve recognized the slow and steady pace of bringing each square inch up to its own level of detail as the perfect challenge for a time in my life when I am forced to slow down my usual chaotic over-drive mode. Nice slow sessions at the easel with frequent breaks to stretch out the otherwise atrophying post- surgery muscles.
After weeks of that rehabilitating pace I am almost completely recovered … and almost completely behind schedule. Yes, the twins arrive tomorrow. Yes, the puppy arrives on Saturday. Yes, as you will see, I still have almost half of the canvas to render. And yes, I decided to add two, or three, or more new boats into the harbor…just to up the ante. But ya just can’t rush this level of detail.
Here’s a look at the progression this week…
And here we start this morning…which, after paying the taxes and sorting through emails and …blogging…is dwindling away and rapidly becoming noon. The toughest part of this last week was making decisions about the dock area in the foreground. I have so many different references with an amazing array of ropes and chains and motor parts and bouys and traps and anchors and did I mention ropes ???? And in each scenario there are gems that I want to try and incorporate in the final image. But that empy blob to the right of the big shack turns out to be a floating dock. (Took me days of analyzing the photos to figure that out…land lubber that I am. ) So matching the positions of all the items to the correct line up of the tidally influenced dock…well I do love a jigsaw puzzle now and then.
And the other such area of indecsion is the dock area on the right. I can’t count the number of boats that called that home in the last 5 years worth of photos I took. Here again I want to pick and choose remembering always and forever my High School art teacher Jim Gainor’s advice…paint the air and not the chair. Especially in this large of a composition, the negative space plays a key role. The viewer needs a place for the eye to pause and rest before moving on to the next wave of detail. It has to work first and foremost at the 16 foot just walking into the gallery distance.
So, I’ll ease up on my self imposed deadline of ….tomorrow…for completion and go with the flow…which for the next week will have more to do with animal crackers, coloring books, bedtime stories and …..PUPPY KISSES !!!!
In a little over a week our little family of 2 will triple… and then some. The Follansbee Family will be arriving for the better part of a week so Papa can give his lectures at Winterthur Museum Furniture Forum and so that we can have our much needed fix of hugs and giggles from Mama, Rose and Daniel.
And …at the tail end (pun intended) of their visit…we bring home our new pup Finnegan !
My goal was to get this mammoth painting finished by then … sooooo brushes up !
Here’s where we stand as of 8am this morning…
After days and days of rendering those tiny little shacks I have enough detail on them to move over and get some paint on the right side of the panel. It’s amazing to me how much harder it is to get a building to appear convincingly ( jury’s still out on that ) real when it is an inch tall vs. 6 inches tall.
The line of buildings in the distance will be partially obscured by boats and pylons and loads of nautical detritus in the middle and foreground …you can see a piece of the sketch taped to the easel which I will have to re-trace on top of the foundation work I’ve done…so I’m holding off of the final details until I see what will be revealed.
But I needed to see some real progress… so last night I blew in some vegetation and roughed in a few more of the houses on the hill. I have one good reference for the late afternoon October sun that I am striving to portray…Menemsha is a popular place for islanders to come and watch the sunset and pick up their fish or lobsters for supper at Larsen’s and the quality of the air and light makes the autumn sunsets particularly magical…but when I took those photos in 2004 I was concentrating on the fishing shack and I did not pan over to get shots of the houses on the hill or the buildings in the distance. And almost all of the several hundred other shots I took in the ensuing 5 years are in vastly different lighting conditions. So I am using that age old artistic license to render a continuity of light…and throwing in some clouds to suggest that one could be blowing over at any moment and throw a house or two in shadow.
One part of sharing the process of painting something step by step that I don’t like is that you don’t get to watch the viewer as they see a painting for the first time and are drawn closer, from the back of a gallery, to discover a whole new world of details and whimsy at the surface level and beyond. Feels like I’m a bit of a spoiler.
One such conceit that I am consciously preparing for them is this tiny little version of the Quitsa Strider…
For last year’s Granary Gallery show I painted an 8 foot homage to this wonderful old swordfishing boat…so it seemed fitting to include her here…even if she’s only 2 inches long. Diminished in size but certainly not stature.
Forgive me if I take this opportunity to mention that I do still have some of the limited edition prints we made of that painting available…
Click on the boat for more information and to purchase a print.
Busy week but I managed to get some easel time in and am almost finished with the main shack and all those shingles !
Got another layer on the left hand window…
And then the hard part…flipping the panel over…
Again…had to wait for my nurse’s assistance…but this easel is such a wonder that once a panel this size is on it I can move it with one finger. A full tour of the easel coming soon… meanwhile…
I learned, after much experimentation, that once I have the foundation layers in place for the shingles it is much easier to add the highlights by working upside down and taking a flat brush and pulling from what would be the bottom of the shingle downward. This gives the clean edge but you can adjust for the degree of “weathering” desired by choosing a correspondingly worn brush. So a new shingle gets a brand new brush…the ones here on this shack which are well weathered got an older brush.
I came over quite early to the studio this morning and heard some salty language and the tinny clanking of swordplay…only to find Sir Bernard of the Fauquembergues taking on the slings and arrows of the disadvantaged weathervane. My hero.
Panel righted again…and ready for today’s glazing down and tightening up…
We took the weekend off … almost unheard of… traveled to Baltimore and were royally hosted by our friends Doug and Scott. Treated first to a cozy feast in their home and the luxury of an unhurried visit with their art collection…then a day of brunching and art hopping from museum to museum. Their generousity and genuine good natures and love of art is inspiring and always a much welcomed breath of fresh air…and the gift of time spent with them AND being able to study the paintings of 17th century masters …priceless.
Now, back again in the studio, I’m bouyed by the images still fresh in my mind and ready to kick my game up another couple of notches. One of the things that impressed me were the many miniatures in the collection at the Walters Art Musuem. Even though the current panel on my easel is almost 8 feet long, there are dozens of “miniature” paintings within this composition.
The windows in the primary fishing shack are two such sections that I began to work on last week. In real life they are only about 2 x 3 inches but they provide some much needed depth in a 2-D world and some middle distance interest in the overall design. Now I can seen the need to go back in and tighten up the initial work in there. I want to give the viewer as much pleasure as I got from taking my glasses off and leaning all the way into the tiny portraits at the museum to see what those patiently applied brushstrokes had to reveal.
