A Drive to Maryland

A few weeks ago, Pam and I headed down to Snow Hill Maryland to participate in a two day plein air event and to teach a three day workshop for the Mid Atlantic Plein Air Painters. We had never really spent any time in Maryland and we were looking forward to it. After packing the car to be sure it would fit all the art gear plus all the medical supplies that go along with doing home dialysis, including the 70 lb dialysis machine itself, we were off.

Nine hours later we found ourselves turning left onto a dead end road that would take us to where our gracious host was putting us up for the week. It was midnight! We had our very own guest cottage and lights were left on for us so that we would know that we were in the right place. The cottage was absolutely beautiful and the scenery all around us was spectacular in the moonlight. We were on an ocean creek and even after a day of packing for three hours and driving for nine more, Pam and I were wide awake and trying to take everything in. For me, the coffee that I drank at 9:30 p.m. might have added to my awakened state!

I began to unload the car and unpack. I even lugged the 70 lb dialysis machine up the flight of stairs to the second floor bedroom by myself and began to set all the pieces together. We've been giving Pam home dialysis for over a year and a half now and we've traveled to many places with it. We even took it to Monhegan Island, which is 12 miles off the coast of Maine and isn't really set up for any emergency situations. There is no doctor and any real emergency would mean getting a helicopter in to airlift you to a hospital but we tried not to think about that. There is really no need to think that a 'situation' would arise and we just did our thing and prayed that the island electricity which was in the habit of going off almost everyday for a short period of time, would not go out during our time of dialyzing Pam. It did! It went off the very first time I had just put her on the machine and so I did what is called an emergency rinseback and all was fine. After that, we had no more problems for the remainder of a two week period.

After the two weeks of dialyzing Pam on that little tiny island, my confidence in handling the machine grew by leaps and bounds and so dialyzing her in Maryland wasn't much different than dialyzing her at home. AND..we had the coolest home for a week to stay in!

The 800lbs of dialyzing supplies that were shipped ahead were also waiting for us in the barn right next door to the guest cottage. Pre-mixed dialysate comes in bags which comes in boxes and when you go someplace for a week, it arrives ahead of you on a nice big pallett. At home, we can make dialysate from our own water source that goes through an elaborate filtration process and we can make enough for three days at a time. It takes a lot of work to travel with it, but AMAZINGLY, we CAN travel with it. Monhegan is Pam's favorite place of all to visit and paint and without this portable machine, she would not be able to get there. Nx Stage was not even an option until a few years ago when the system became available. For anybody reading this who gets hemo dialysis in a center or knows someone who does, you should look into Nx Stage. It is very gentle on the body and because of it, I got my wife back! The dialysis at the center is much harder on the body and when a patient is done being dialyzed the stress of it is like running a marathon and a half. No wonder Pam never had any energy after being dialyzed. The next day was always spent recuperating from dialysis and then the next day was dialysis again.

Dialysis is a part of our lives. It seems if I'm not wearing my painting hat, I am wearing a mask and exam gloves and playing the part of a dialysis technician. So it is was with our trip to Maryland. We taught all day and then would come home to our beautiful cottage, eat a quick dinner in between setting up the supplies and the dialysis machine and then we would spend the next few hours dialyzing. Then off to bed we'd go and get some sleep so we could wake up to start fresh with a new workshop day.

We dialyze Pam 5 or 6 nights per week and with everything involved, setting up, running her, taking her off, breaking down, monitoring and ordering and moving around supplies, it takes 25 to 30 hours of time.

So, I bring this all up because on this particular workshop trip, it was our last time of having to take the dialysis machine with us. Pam is scheduled for transplant surgery at the end of June and her daughter Heather is giving her a kidney! A little over one month later, we plan to be on Monhegan Island again. And we will get to enjoy the sunsets too!

Our workshop in Maryland was a fantastic time. We had a full class of great students who wanted to explore new ideas. We had pretty good weather too. Spring was in full bloom. How can I explain it any better than that. On Tuesday night, our night off from dialysis, we had a gathering at Bishop's Stock Art Gallery. Ann Coates was very generous with her time and allowed us to have a night of hanging out, drinking wine and playing some music. Gary Pendelton was kind enough to join Pam and I on the guitar and he did some great accompaniment on harmonica.  Someone else played some blues with Gary too. It was a good time.

It was a three day workshop and of course, as with all workshops, regardless of length, it went by too quickly. The main things I pushed during the three days was composition and a solid value plan. It's my belief that if a painter spends the time and makes a solid beginning, the painting can almost paint itself at that point.

After drawing in a solid composition and then massing in a strong value plan of lights and darks, Emile Gruppe would consider the painting finished. He would say that all the hard work was done and now anybody could come along and finish the thing!

Rockport & Cape Ann

During the past week, I was getting everything finished up for my solo show at the Rockport Art Association. The opening was last Sunday afternoon. I still had paintings to complete. I needed to sign, varnish and frame all of them. Then of course, there was also the making of  'the list' and all the photography that goes along with having good images of each painting. In the end I had 23 paintings in sizes ranging from 6x8 to 24x30 and everything in between.


I find that the 'not painting part' of being an artist takes so much longer than I imagine it will. It never fails.  It stems more from wanting to have the best paintings and to have everything just right, than it does from not planning. I am usually working hard to have my best work for a show and so all that other stuff gets done last minute. Packing a car with all the paintings and other necessities  is always a challenge. I actually enjoy the miracle of getting it all into the vehicle. Somehow I always get it to fit and then off we go!


A brief review of Rockport Massachusetts and the RAA goes something like this:  It is at the tip of the Cape Ann peninsula and is surrounded on three sides by the Atlantic Ocean. (Doesn't that instantly make you understand how beautiful and paintable it is!) The Rockport Art Association or RAA, was founded in 1921 by a small group of local artists in the studio of Aldro Hibbard and is one of the oldest art associations in the United States. Nearby is the city of Gloucester. Both Rockport and Gloucester are still fishing villages and artist colonies. 


Pam and I love heading to Cape Ann to paint. For this trip we drove straight to the RAA and unloaded paintings so that we could hang my show in the Marguerite Pearson room. Hanging a show is another thing that always takes longer than I think it will but Pam and I worked together, and along with some help from the RAA staff, we had it done before we knew it. A short time before the association closed for the day, our friends and painters Charlie Movalli and his wife Dale Ratcliffe stopped by to see the show and then we all went out for a bite to eat. Bruce Turner and his wife joined us there, as did John Caggiano. We had a great time conversing. I always love listening to stories about the Rockport 'Greats'. Charles Movalli is full of stories about these painters. On this night he had stories about Emile Gruppe, Carl Peters, Antonio Cirino and Harold Wolpoff.  Afterwards we stayed at John's house for the night. 


I could listen to Movalli talk for hours and then want to hear more. He has that affect on most people. Even though I have taken only one workshop with him, he has been a mentor to me and I consider him to be one of the best living painters in America today. He is a brilliant individual. If you listen to him talk for just three minutes, you will come to this realization. When he works, he is out to make a statement in paint. He makes a plan, he decides on one thing to say and then he makes that statement. Once it is said, he stops. When I took his workshop in Port Clyde in 1991, the ad in American Artist Magazine said that he was the kind of teacher who's workshops were life changing. They were right about that!


For years, Movalli taught plein air workshops and demonstrated all over the country. If you have ever had the opportunity to take a workshop or watch just one of his demonstrations, than you are already aware of what a privilege it was. Back in the day, his standard size outdoors was a 24x30 and he would do 4 or 5 a day on a painting trip. Not only is he a great painter but the most prolific painter I know too. Youtube has a number of short clips of Movalli talking about some of his paintings at the Wall's Gallery in North Carolina. Do yourself a favor and look them up. This is a master discussing his work. It will give you an idea of the energy that makes up this great man. 


Movalli is the editor of all three Emile Gruppe books which are the best books about outdoor painting out there. They are Gruppe's thoughts, his ideas etc but the books would not be what they are without the genius of Movalli behind them. For many years, Movalli wrote several articles for American Artist Magazine. They were titled; 'A Conversation with'..and then the artists name. They appeared almost monthly. I was fortunate enough to be an artist that he interviewed for one of these conversations in the Dec 1995 edition. These articles always gave some background about the artist, their palette and their working method and more. I guess that is pretty much the standard article about an artist, but these were different. They truly were a conversation and in each one, you felt like you were part of the conversation as you read along. You really felt like you got to know a particular artist in each one. Another article that stands out for me is one titled 'In Praise of Painterly Painters'.  If you have the chance to go back through your old American Artist Magazines, look for this one.  It is in the May 1987 edition on page 36.

On Sunday before the opening, we had a nice breakfast with our friend Lou Seone. The place to have breakfast in Rockport is at the 'Red Skiff '. It's a tiny place...the word SKIFF is very apropos to the size of the place and you always have to wait for a table. They really have a great breakfast though and It's always worth the wait. After that, Pam and I headed to Stop & Shop to pick up food and drink for the opening. We decided to make a nice sangria and got all the appropriate food items to go along with it. I also made a quick stop at a coffee place nearby to fuel up for the afternoon!  


My opening was well attended and went by in a blink of an eye. What can I say. There were people and a lot of good conversation. I got nice compliments about my work (and also the punch....sangria) and had sales. I also booked a private workshop with a group of artists in attendance. It was a good day.


Here is a picture of Motif #1 in Rockport and a couple paintings that are in my show. My laptop is currently out of commission so I am going with what I have for now. I'm hoping and praying that it is fixable. My monitor will not come on although it does for a brief two seconds.  Arrrrg.































Painters Who Compose

Since my last post, I taught a workshop about marine painting, had an opening for a two-man show at Hartford Fine Art and I also made a drive to Maryland to paint a demo for the Mid Atlantic Plein Air Painters Association for their annual meeting. What a great group they are. The demo went well and it was fun to see everybody. I got to see artists that I know and meet new people. It was fun talking with some of the artists who will be participating in my workshop that I am doing for MAPAPA in Snow Hill Maryland in mid April. It was also nice to get a little bit of Spring while I was there. Pam came with me and we had a wonderful weekend. We also visited our daughter Jen at Maryland Institute College of Art in Baltimore.


As promised in my last post, here are some examples of work by other painters along with some thoughts on how they composed them. This is a great thing to do with painters who you greatly admire. It is another way to open up your mind to the myriad of possibilities when it comes to composition. I'm still an avid believer that many good paintings can be made better with more thought given to composition. I include myself in this idea. Often times, I am excited by a subject and go with that first idea, but I always end up with a stronger painting if I take the time to make a few thumbnails first. I recommend coming up with a good plan first and then jumping into painting. Gruppe would always say that if students spent more time planning and drawing their subject, they would get better results. Charles Movalli once told me that when drawing in his big shapes,  Gruppe would sometimes wipe out and reinstate an object even if he changed the placement by only a quarter of an inch to get the composition to work correctly. Now that's planning!

First let's look at some paintings by Edgar Payne. As far as I am concerned, he wrote the best book on the subject. If you spend a year reading this book, you will still be learning new things from it. It's the kind of book that is best digested in small amounts.

Here is a link. Composition of Outdoor Painting

If  you click on the pics, you will get a larger image and the text will be more readable. In my workshop, I projected these images (and many more) onto a large screen and discussed them individually with all the students. It got them thinking about how they were going to compose their own paintings.

























Now let's look at some paintings by Gruppe. Emile Gruppe was a master painter and a master Exaggerator. If you remember only one thing from this post, let it be this. 'Learn to Exaggerate' There is a Gruppe saying that goes like this. 'Overstate & Understate, don't ever tell the truth!'


Another note on the above painting. Gruppe REALLY wants the viewers eye to be directed to the main ship in this painting and to the smaller dories. He even went so far as to lean the buildings on the right of the canvas towards the boats! Talk about professional exaggeration! This serves the purpose of leading the eye but also helps to explain how STRAIGHT and TALL the masts of the ship are. Gruppe was also a master of explaining one thing for the sake of the other. Here he has the large ship, the medium dory and the small dinghy. The BIG explains the little and vice versa. But also notice how he knew when he had a good thing and didn't kill the effect. Imagine the building on the left leaning in towards the boats. We would feel like the world was coming to an end!