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  • Marc Dalessio Stonington class July 2017

     

    Earlier this month, Marc Dalessio and I ran a marathon 5-day landscape painting workshop in Stonington, on Deer Isle, one of my favorite places to paint in Maine.  Everyone worked very hard, with some students painting for hours before and after class times each day.  It was a whirlwind week, and I believe everyone got a lot out of it, Marc and I included.

    Marc demonstrating his approach to students on the first day of class at Sand Beach.  Marc talked at length about using sight-size as an effective means to expedite drawing, adjust placement and scale on the canvas, and how he deals with compositional pitfalls as they present themselves throughout the process.

    Marc’s demo on the first morning was about two hours, while Marc’s wife Tina painted with their dog Emma, in the background.

     

    below, a few images of the students at work throughout the class:

    Paul Sullivan painting on West Main St

    Bob Sullivan painting from the corner of Andy’s Wharf looking towards Green Head

    Sandra Dolan painting the harbor from Church Street

     

    As is often the case in the northeast, the weather was unpredictable.  Our weather for the course ranged from high 80s with humidity to low 60’s and freezing a-la-San Francisco in August when the fog rolled in.  We had rain, fog, clear skies, puffy clouds, wind, and all that sometimes in the same day; as if traversing the seasons in real time.  It’s a lot of fun- but provides an extra logistical layer to a class like this.  Between the weather, tides rolling in and out, and light changing as usual, there are a ton of variables to deal with.  Our intrepid group of students put up with the fact that neither Marc nor I can control the weather, no matter the app on your phone (we discuss weather apps a lot, here’s a list of Marc’s favorites).

     

    marc and cooper happily working away in the rain 

     

    Stonington is such a fantastic place to paint. I invited along a couple of New-England hometown heroes who have been painting the area for decades, Stapleton Kearns and TM Nicholas.  Both did a lot of work during the week.  It was nice to have painters with their experience along, as it adds to the critical mass getting momentum in a class. The students can listen to what Marc or I have to say, and then see entirely ‘similar but different’ approaches on the canvases of others.  I think that’s quite valuable. Additionally, the entire academic method that Marc and I were taught in (by Charles Cecil and Daniel Graves, respectively) came through the studio of RH Ives Gammell, who was Stapleton’s teacher in the 1970s.  Through that common background, we were able to talk a bit about the concept of artistic lineage and heritage as it applies to both 19th-20th century academic painting and american impressionism.

     

    TM Nicholas (not pictured), my easel, Meghan Weeks, Stape Kearns, Marc and Tina Dalessio all painting in the fog after class

    Stape, Marc and TM chatting on Church Street in the afternoon.

     

    The one day that rain got real heavy, Stapleton kindly offered to do an indoor demonstration.  An indoor demo during the rain is a total lifesaver for the morale of the class, and Stape does a great one.  He paints entirely out of his head, without reference, and it is always a seascape- not a landscape of the sea, but a big ‘crashing wave’ picture that really couldn’t be done from life.  Towards the end of the demo, Stape, Marc and I all started telling stories a bit, again reinforcing the common themes in what we do, and how we were trained.

     

    Stape’s demo, above (though I would wager he’s kept working on it since)

     

    One of the novel aspects of these classes is that they are like little engineering summits for outdoor painters.  Painting outside has become so popular that there are tons of products on the market.  That said, nearly everyone I know uses a unique system, often that they rig up to some degree themselves.  Dalessio was showing off the brand-spanking-new version of his Carbon Fiber homemade ultra-super-light system, I was showing everyone the Viktor Butko rack system in my car for traveling with big paintings. I also spent time plugging the new painting boxes from Mosepi (which are really very similar to the cigar boxes that my friends and I used to paint with, I like them very much), they work well for what we do.  Cooper Dragonette showed everyone his homemade kit which was very fancy, Stapleton Kearns showed the class the many virtues of the Gloucester easel (recommending exclusively the Stapleton Kearns model by take-it easel, of course). We even had an real honest-to-goodness well trained furniture maker in the class that made a homemade box and panel carrier system that literally brought gasps to viewers (peter, you should sell those).

     

    On the last day of class, Marc gave a demonstration specifically on using indirect painting techniques to strengthen your landscapes: glazing, scumbling, and talked extensively about scraping down and controlling your surface.  Marc uses these tools to strengthen effects of atmospheric perspective, or to add fog and cloud cover, and perhaps most useful, simply correcting areas of color without losing your hard work underneath.

     

     

    Many thanks to Marc and all of our students for coming up to Deer Isle to paint for the week.  For 2018, Dalessio and I have begun planning a course in Italy.  If you would like first crack at such an opportunity, sign up for the mailing list at the top of the classes tab.

     

     

     

     

  • Plein Air Maine Pictures, October 2016

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    Stonington Harbor from Church St, 20×24″

    I thought I should make a separate post for the recent outdoor pictures I painted with the Russian crew in Maine.  Basically all of these got reworked entirely in the studio.

     

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    Fishing Shacks, Dusk 22×28″

     

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    Golden Hour, Allen Cove 14×18″

     

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    Lobster Pound, 22×28″

     

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    Windy Day at Eagle Lake 12×16″

     

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    Powell Camp 12×16″

     

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    Ocean Street Fishing Shacks, 27×38″

     

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    Stonington Lobster Co-Op, Glare Effect 26×36″

     

  • Blue Hill/Deer Isle Peninsula October 2016

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    Back in 2013, a group of my friends and I were invited to paint in Plyos, the Russian city in the Ivanovo region where Isaak Levitan painted many of his most important pictures.  The weather wasn’t great (you can read about that trip by clicking here, and I should really rephotograph the paintings I still have from the trip ).  During that difficult trip we developed a lot of camaraderie with our Russian counterparts, though we had little common language.  Painting through the torrential rain every day, and complaining and drinking at night.

    This year, my friend Ben Fenske wanted to return the favor, so he invited a small group of the Russian artists we painted with to come paint in the US, and organized an exhibition at the end of the trip at Grenning Gallery in Sag Harbor, NY– Ben also organized a few American artists as counterparts, as we had in 2013.  The artists that were painting together were Carl Bretzke, Viktor Butko, Ben Fenske, Olga Karpacheva, Stapleton Kearns, Tim McGuire, Jesse Powell, Irina Rybekova and Oleg Zhuravlev [click any artist’s name for a link to their website] Additionally, my friend Kelly Carmody had been painting in Maine, and we spent time painting with her throughout the trip.  Jesse Powell was gracious enough to host our very large group at his family’s camp on a pond in Blue Hill, ME.  We were there for peak fall color, and thankfully the weather was mostly good.

     

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    Trips like these are interesting- whatever the weather ends up being like, there’s an undeniable energy in getting a large group of artists together; everyone brings their ‘A’ game, and there is a sort of friendly competition and excitement to watching the group’s work develop.  For me personally, being away from my family encourages me to spend every waking moment working on paintings, as I want to make sure I’m using my time well.   As an artist it’s an energizing experience, however your paintings end up it will revitalize your studio time.  There is a bit of magic in all the big personalities, on your feet working all day, and large dinners at night.  It was intense, and exhausting.

     

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    Here are a few of my pictures I started during the trip, and I have finished in the studio (Next post I will put the other half of the paintings from the trip, they are larger and have been taking more time to complete)

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    Stonington Harbor from Church St, 20×24″

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    Golden Hour, Allen Cove 14×18″

     

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    Lobster Pound, 22×28″

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    Powell Camp 12×16″

     

    Here’s some pictures from the trip of the group at work:

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    Tim McGuire painting in Stonington

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    Olga Karpacheva painting at Jesse Powell’s in the rain

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    Oleg Zhuravlev in Stonington on the Highlands

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    Irina Rybekova and Zhuravlev on Mt Cadillac above Eagle Lake

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    Jesse Powell painting in Stonington

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    Stapleton Kearns in Stonington

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    Me painting at Powell Camp

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    Olga Karpacheva and myself painting a Lobster Pound

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    Kelly Carmody

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    Ben Fenske and Viktor Butko painting happily in the rain

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    Fenske and Carmody in Stonington

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    Viktor Butko painting the Lobster Co-Op

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    Carl Bretzke painting in Stonington

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    the day we were completely rained out we took the Russians to the Farnsworth in Rockland to see the Wyeth collection

    The fall color was fantastic, though going into the trip I was slightly concerned the Russians would find inland Maine too similar to Russia- I had forgotten that though they also have fantastic fall color, they don’t have all the blood red maple foliage.

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    Our show at Grenning Gallery in Sag Harbor will open on November 5th.  Most of the artists will be in attendance.

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