TM9491 Last Days of Summer #10 7×7 oil on panel
Summer is also the season when hurricanes affect the coast, turning the water into thick foam. This view is from good old Bass Rocks, of course. Enjoy.
Last Days of Summer #10
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September Days
TM9493 September Days 36×72 oil on panel
September Days is a gentle anticipation of the coming season with its bright colors and quiet tones, all reflected in the pond I so love to paint. Details below. Enjoy.
TM9493 September Days – detail from left side with reflections and floating leaves
TM9493 September Days – detail from right side
Technical painting notes: At 36×72″, this painting posed some challenges. Just seeing what I was doing during the initial stage was difficult. I usually like to start on a table, rolling the paint onto the panel and manipulating the image with (very) wet solvents and oil. However, getting far enough away to see the wet painting was nearly impossible. Next time I might try working on the floor.
Last Days of Summer #9
TM9490 Last Days of Summer #9 7×7 oil 9on paper
Rounding the corner on summer – tonight the forecast is for a chilly night in the 50’s – hurrah! This most recent Last Days of Summer painting depicts the pond with lingering morning shadows. I suspect the next will have more yellow! Enjoy.
Last Days of Summer #8
TM9489 Last Days of Summer #8 7×7 oil on paper
Number eight in the Last Days of Summer Series, and you can certainly feel fall around the corner. The colors in some trees are taking a slightly golden cast, and the sienna-hued shrub in front says it clearly. I know it’s a cliché, but I live to enjoy the seasonal changes. Enjoy.
Technical painting notes: Working on this little fellow, I found myself getting too tight, trying to include too much information. To keep the broader gestures strong, and subdue the detail, I used a palette knife to restore the impression and “smear” some of the detail. When I lose the “big picture” details are meaningless.
Last Days of Summer #7
TM9488 Last Days of Summer #7 7×7 oil on paper
One more summer painting from Gloucester, this one from a small quarry deep in the woods behind a friend’s house. I’ve spent time here watching fish in the water (and trying to photograph them). One frog spent nearly a whole day watching me sketch and photograph reflections in the water and the granite walls. It’s a beautiful place in the heart of of Cape Ann, full of history, blueberries, and wonderful memories.
Last Days of Summer #6
TM9487 Last Days of Summer #6 7×7 oil on paper
Back to Gloucester for a study from one of the many quarries – and the 6th painting in my mini-series Last Days of Summer. The still water is a wonderful foil for the rising granite walls. Some of the quarries ae incredibly deep, others are small and intimate. The small ones were usually worked by one man or family, and can be found deep in the woods. Much of the granite from Gloucester was shipped to Boston to become elegant edifices. Some became curbstone and paving stones. I love granite – durable and humble.
Last Days of Summer #5
TM9486 Last Days of Summer #5 7×7 oil on paper
The view from a different part of the pond, and part of the Last Days of Summer mini-series. These quiet and contemplative ponds are scattered across New England. Many are natural to their environment, but some were encouraged by early farmers to provide water for dairy cows. Beautiful in summer, they are also valuable for ice skating in winter. The granite outcrops are also a much-loved characteristic of home. I am reminded of one of my favorite words – topophelia – meaning a deep love of place. It sums up my work and life. Enjoy.
Last Days of Summer #4
TM9485 Last Days of Summer #4 7×7 oil on paper
Fourth day in my painted good-by to summer, and this time I’m at my favorite pond and conservation area in Wayland, Massachusetts. The dead trees on the left are a favorite place for the great blue heron to sit and meditate. When I walk the path around the pond, the sound of plop plop precedes me as frogs jump back into the water. Enjoy.
Technical painting notes: I use mostly 140 pound rag watercolor paper for my little oil paintings and studies. The paper is primed with acrylic gesso or clear shellac (front and back). Most of the paintings are done in two or three stages. The first day, I block in the major shapes and darkest values using a palette knife and Liquin Impasto medium. My goal is to get vibrant textures and strong contrasts. The second day, I start refining an image from the rather abstract base, using soft brushes, knife, and occasionally a soft rubber roller. Sometimes a third day is need to finish the painting. My goal in doing these small works is to keep my response to the subject fresh and let the accidents that happen when painting with a knife inform the direction the painting takes. I also want to capture the liveliness and tranquility of the place.
