Eastport Cliffs

Eastport Cliffs

This drawing was inspired by the view from the outside deck of a restaurant in Eastport.  As I've mentioned before throughout this blog, my love of nature fuels my art, but often requires some adjustments to create a composition for a painting. 

This scene is calm, as the sea was calm.  Still, for me the calm the cliff with the tree creates a tension.  How many more storms will the tree last?  Will it grow too large for its roots to support or will the foundation of rock tumble into the sea taking the tree with it.

In this case while remaining true to the subject:

I've moved the house down the hill toward the cliffs and moved the houses chimney to reduce distraction.  

The islands in the distance did exist, but I've added a channel in between to add distance as a landmass across the picture would stop the eye from moving into the painting.

The cliffs existed, some of the patterns of of the rocks and shadows were altered for composition to lead the eye into the drawing.

The tree existed as well and drew me to the subject in the first place.  I've emphasized and enlarged the tree slightly.

In a conversation with another artist who was readying for a show of abstract art, but who often sketched from nature, we each discussed how our preferred style stretched our creativity.  It was very respectful conversation despite our very different perspectives.  While he saw value in sketching and drawing from life, his view was not to change anything, but to accurately record what was in front of him.  While he found abstract painting to be a far more of a creative exercise.  

For me, trying to capture a moment in time and to interpret nature in two dimensions is far from constraining.   Just the opposite actually.  I find that pulling and rearranging elements that I've experienced first hand into a new composition to be as rewarding as being able to capture those elusive moments in nature that too many of us regularly pass by without noticing. 

I will most likely do a variation of this subject during a storm with a tighter focus on the cliffs, tree, and house.  I've often visited the coast during storms.  I find the ocean to be mesmerizing in all its moods and colors.   This idea occurred to me while working on the cliffs.  Adding the water effects on the rocks during a storm will be an enjoyable stretch.

New Group Exhibition - River Arts Damriscotta

Time Together - Acrylic on Canvas

Aiden LaSalle

$325.00

The above canvas by Aiden LaSalle will be included in the juried group exhibition at River Arts opening Friday September 21 in Damriscotta.

Aiden has been painting for decades and has paintings in numerous private collections throughout New England.  It's rare for any of his paintings to get by his family and clients but at age 82 he thought he'd try something a little different and enter a juried competition.

Aiden comes from a family of artists.  His father, Edward LaSalle, was an illustrator in the 20's and 30's and he sold his paintings privately throughout the next five decades.  His Uncle, Charles LaSalle and his cousin Aiden Lassell Ripley were highly successful artists who won awards nationally and are still highly collectable artists to this day.   His mother, Vivian LaSalle was a fashion artist for Palmer's Department Store and a portraitist in pastels.

Aiden has also spent a lifetime in and around the woods, studying nature in all its moods, and that authenticity is embedded in all he creates.    

I currently have two other paintings by Aiden for sale.  If you are interested please email me at robert.kahler65@gmail.com

Waiting

Acrylic on Canvas

$300.00

Storm Warning

Acrylic on Canvas

$475.00

Congratulations again to Aiden!  I cannot thank him enough for mentoring me on my own artistic journey.


I also had one painting accepted for this exhibition as seen below.  It is a watercolor on paper.

Treetops / Woodcock

Evans Notch, Revisited

While readying paintings for submission to a juried competition, I decided to take a break to make some painting notes.

In short, as I've painted over the years I've gradually moved from a frenetic non-process of painting on location and,thanks to haphazard storage, I seemed to spend as much time looking for my materials than I did painting, to a fairly consistent process.  I've written about the development on my preferred working method over time, if you are interested in that topic, I've included some links below.

This particular notebook is a small portfolio that I've not written about before.  Each page of the portfolio is filled with index cards.  Each card has its own idea for a painting.  In some cases its just a quick phrase scribbled down (Orange Moonrise / Trees illuminated from behind).  In others there are no words and just a quick pencil sketch of a composition.  In other cases the card references other studies to utilize to complete a new subject.  Some of the cards are a critique of a painting completed much earlier.

Lastly, and the subject of this post, are notes about paintings that I'd completed to a point, but didn't know what to do next or how to complete the painting at the time. 

This painting  immediately below was the first pass of an oil of "The Basin" in Evan's Notch. 

The true first pass at the painting didn't have the Birches, Spruce, or Moose in front of the pond.  I then added these elements but I knew that it was in its final form - I just wasn't sure what that finished state would be so I set the painting aside - for years.

Below is the painting with my latest revisions.  I added texture to the mountain as well as different colors.  I added more value to the shadows on the mountain peak and exposed rocks.  The birches received the bulk of the work - literally adding bulk through structure modifications as well as color and value work.

Lastly the water seemed more dull that I liked, so I added some lighter reflections from the sky on the left and green reflections on the right.

I may have gone a bit too far with the brilliance of the trees, but they are glowing at times, so I'll set this aside a take a look with fresh eyes soon (not years from now).

Below are a few links to earlier posts which describe the evolution of my working methods.

.
https://robertkahlerlandscapepaintings.blogspot.com/2017/01/where-did-that-idea-come-from.html

https://robertkahlerlandscapepaintings.blogspot.com/2018/07/where-to-shop-for-good-ideas-anywhere.html


https://robertkahlerlandscapepaintings.blogspot.com/2017/10/rugged-coast.html

Fishing the rapids II

Fishing the Rapids 

Acrylic 18" x 24"

Sometimes an idea for a painting kicks around in my head for awhile.  Then it reaches a point where I have to get it out and onto canvas or paper and occasionally in the form of notes or poems.  More often than not I feel like a passenger on that ride rather than the pilot.

In this case, the version of the picture to the left was my first pass.  I've talked before about how I will often get a painting to a point of partial completion and simply set it aside for awhile.  There was always something about this painting that hadn't set quite right with me.  Despite the fact that family, friends, and even an impartial critic who selected the painting for a juried show liked the painting as it was.

Some of the differences between the two are do doubt because of different lighting.  While I made small additions and corrections throughout much of the picture - a small brush stroke and color adjustment here and there. the main adjustment was to the color of the large tree on the far bank (left bank) and the small trees in the left foreground.

Those color adjustments, adding primary complementary shades to the rocks and the muting of colors on the far bank really helped bring out the reflections of the sky in the water.  Other than covering my old signature and adding the new, I didn't even alter the water.  I was quite happy with how this turned out.  I was able to add contrast and some darker colors - while turning an area of the painting that had seemed flat and lifeless into one of interest that still supported the whole picture.

I'm now finding more pleasure in making small adjustments in color, shape, and form, to pictures that in the past I was quite content to just leave unfinished.  It's a different part of the creative process but one that I continue to grow in appreciation for daily.

The working process behind the original version of this painting can be found elsewhere in this blog.

https://robertkahlerlandscapepaintings.blogspot.com/2017/02/fishing-rapids.html

Now I can let it go and move onto something completely different.

Group Exhibitions and Juried Competitions

I currently have three works on display at the Crooker Gallery in the Topsham Public Library as part of a combined show for award winners of the 10th annual Joy of Art and Joy of the Lense exhibitions.  The show runs through September 20th.  If you are interested in purchasing any of these paintings please private message me.

Acrylic - 12 x 16

Cape Elizabeth

Painted on Location

Lisbon Farm

Watercolor 8" x 10"

Painted on Location

Stroudwater Colonial

Charcoal on Paper

12" x 16"

The painting below is currently on display at River Arts Gallery in Damriscotta as part of a juried exhibition - local color.  This exhibition runs through the next two weeks.

Lisbon Farm

Acrylic

18" x 24"

I also have submitted two paintings for a juried exhibition ArtinME in Boothbay, ME.  Fingers crossed that one will make the cut!   Am trying to live and take risks according to the motto "Go Big or Go Home!"

This charcoal is an elaboration of an on location watercolor sketch of a farm in Bowdoin.  Haying has begun in the foreground.   One of the things that impresses me most about the farms in Maine is how farmers utilize nearly every inch of arable land, be it for Hay, Corn, or other crops.   Hay fields in various shapes and sizes are tucked away alongside roads as in this case.

I may well take the view of Mt Washington from Lisbon and add it to this scene in an alternate composition.

Pembroke Stone Bridge

Here is one of two large charcoals I've begun since my return from a trip Down East.  This is a stone bridge in my mother's hometown of Pembroke Maine.    The river is the Pennamaquan river which drains Pennamaquan Lake into Cobscook Bay.  

As a child I spent many hours playing by the river.  When the tide was outgoing the river flowed rapidly through the stone arch ways.   I used to launch "Boats" that I found throughout the woods.  The river flowed so rapidly in fact, that the waves created by the flow of the river reminded me of the wake of my uncles boat on Sebago Lake.   When the tide was incoming, there were many small whirlpools formed as the saltwater and the freshwater collided forming intricate designs of flotsom and foam on the surface of the river.  On windy days, the river foam would be blown rapidly upriver, sometimes on the surface, at other times taking flight.

I never fished, not sure why,  but the fishing was good as evidenced by the bald eagles that regularly snatched fish from the river.   Most likely river herring.  The Eagles nest was high in a spruce overlooking the river in the woods behind my grandparents.  Eagles weren't very numerous in those days (the early 70's) but I had their company daily whenever I was in Pembroke.

The House indicated at the right side of the bridge, is actually the Masonic Hall which would not be visible (and to the right of the bridge).  The Masonic Hall was at the entrance to Masonic Lane, and my grandparents house was at the end of the lane.  Below is a sketch I did years ago entitled Pembroke Memories.

According to the Maine DOT Historic Bridge Survey, Phase II Final Report & Historic Context. 2004

"The Arch Bridge in Pembroke (#2021) is among the most complete, extant stone arch bridges in Maine. It was built in 1894 by the town."  

Impressions Cape Cod

Below is a link from my last entry, explaining why I started this process of quickly recording impressions from some of my road trips - while memories are fresh.

https://robertkahlerlandscapepaintings.blogspot.com/2018/08/too-much-to-paint-too-little-time-paris.html


Here is a set of rapid and small  Pen and Ink Sketches 3" by 4"  These are from my recent trip to Cape Cod with Julie and Doodle Bug.  These impressions will form the basis of future drawings and paintings.

                 Gnarled Pine - Dennis MA Cape Cod              Dunes - Dennis MA  Cape Cod     
                           Pen and Ink 3" x 5"                                         Pen and Ink 3" x 5"

              Dune House - Dennis MA     Cape Cod                   The Harbor - Dennis MA   Cape Cod

                    Pen and Ink 3" x 5"                                                   Pen and Ink 3" x 5"

                      Beach - Eastham - Cape Cod                            Dunes - East Orleans - Cape Cod
                          Pen and Ink 3" x 5"                                             Pen and Ink 3" x 5"

                 Dune Houses - Dennis MA   Cape Cod                 Beach - Dennis MA  Cape Cod
                          Pen and Ink 3" x 5"                                              Pen and Ink 3" x 5"

Too much to paint, too little time - Paris Hill

What do you do when confronted with Artistic Overload?  When every corner hides another dozen scenes to paint?

I suppose there are as many different answers to that question as there are people in the world.  For me, direct observation and sketching and painting from nature are key to my process.  However, there are simply times and circumstances where it is not possible to do either.  In those cases I will try to take a few pictures for later reference.  As soon as possible, I'll record my impressions with a sketch and sometimes a brief written description of what drew my attention to the subject - initially without even referencing the photograph.

The first time I went to Paris Hill was for a wedding at the church on the green.  If you've never been, it's well worth the trip and the effort to find it.  There used to be tours around Christmas of many of the historic houses.  I'm not sure if they still do that, but once again, worth it if they do.

Below are some small (3" by 4")  quick pen and ink sketches to explore different compositions and to develop a bank of historical house sketches for potential use in the future.  These particular sketches are all on a larger sheet of drawing paper sectioned off into 8 grids.

Paris Hill Impressions

               Church with Hannibal Hamblin House                         View from behind church toward

                              Pen and Ink 3" x 5"                                               village Pen and Ink 3" x 5"

                     Sunset and Distant Hills                                            Distant Hills, Sunset

                        Pen and ink 3" X 4"                                                 Pen and Ink 3"x 4"

New Englander - Pen and Ink 3" x 5"

I now really enjoy playing around with these sketches and compositions before launching into a painting.  It is time spent up front, but in the long run it is good practice and saves time from having to make large adjustments to a painting in progress.

Another thought I had while doing these sketches is to later take these sketches as a basis for finished sketches to have a unique momento of a place.  Many small sketches in the space of one larger sketch.

I hope you enjoy these impressions of Paris Hill.  In future posts I will share impressions of recent trips to Eastport and Cape Cod.

The link below will take you to some painting sketches completed in Eastport

https://robertkahlerlandscapepaintings.blogspot.com/2018/08/sea-glass-and-sketches.html

Sea Glass and Sketches

Had a wonderful time with family and friends Down East!  But those are stories for a different blog.

The sketches from left to right top are Acrylic 4" x 6", Acrylic 12" x 16", Watercolor 8" x 10" and Acrylic 4" x 6"

Bottom Left are two quick pencil composition sketches and bottom right is a partial sketch with notes and some small composition sketches which I will work up into larger compositions and paintings.

The 4" by 6" were a first time experiment for me.  The format did make me simplify very complex subjects.  The jury is still out for me regarding this small format.

The 12" by 16" inch painting is really four sketches in one.  Sky, Water, Distant shoreline and Mid ground cliffs.  I wasn't pleased with the overall composition but for study purposes it was a productive exercise.  I really want to focus more on my paint handling with Acrylics.  Need some new bushes, but more than that I just need to focus on it more.

These color sketches, the time spent observing the scenes, and notes will be combined into new subjects with some photos I took for reference.  The sea glass and pottery were all collected in Eastport in one morning.

Between Cape Cod and Eastport I have enough source material to keep me busy throughout the fall and winter.

I have a new idea for some composition sketches when I return from the trip.

Local Color - Juried Exibition, River Arts Gallery

This Acrylic painting was accepted for the Juried Art Show - Local Color at River Arts Gallery in Damriscotta.  The opening is this Friday evening.  I look forward to seeing everyone's work.

https://robertkahlerlandscapepaintings.blogspot.com/2018/07/lisbon-farm-in-summer-2.html

https://robertkahlerlandscapepaintings.blogspot.com/2018/07/so-much-for-waiting.html

https://robertkahlerlandscapepaintings.blogspot.com/2018/06/farm-on-location-sketch.html

New Hampshire Memories - Sold

New Hampshire Memories - Gouache over Charcoal 12" X 18"

This painting is now in a private collection in Georgetown Mass.  The genesis of this painting was from a trip to New Hampshire with my family.   Here is the link below to the original post.

https://robertkahlerlandscapepaintings.blogspot.com/2017/04/new-hampshire-memories.html

Thank you so much for your purchase and your support!

Cape Cod

I so enjoyed spending some time on Cape Cod with Julie and our dog Doodle Bug last week.  There was so much to see and paint.  Subjects were everywhere.  I remember hearing artists talk about going to places like Venice and having difficulty choosing what to paint due to the sheer number of possible subjects.  I felt a little like that at Cape Cod.  I'm not sure if its because it was all new to me or simply due to the beauty of the Cape.  We stayed in Dennis - and this church (@ 1838) was literally five minutes down the street from our hotel.  There was a cemetery next door, but I didn't want to take the time to dig too deeply in only one or two areas on this trip.

It can often be challenging to find a place to paint a subject based on traffic and such. This morning was not one of those challenging days.  There were a number of benches throughout the church grounds and this is actually the view from one of the benches.  This small watercolor painting was completed on a block of paper.  If you've never tried using watercolor blocks (paper) I'd encourage you to do so.  The paper doesn't need to be taped down and it doesn't buckle while you are working on it.

Watercolor - On location   Dennis MA.

We traveled throughout the Cape - from Dennis to East Orleans, to Hyannis and Hyannis Port, to Brewster, Eastham,  Truro, and Provincetown.   Just some quick impressions that left us wanting to come back for more.


The landscape brought so many images of Edward Hopper's and Aiden Lassell Ripley's Cape Cod paintings to mind.  They absolutely captured the atmosphere and the landscape in their work.

Setting Out by Aiden Lassell Ripley

Watercolor - Private Collection

Edward Hopper

It also reminded us of how lucky we are to live in Maine, where we too have world class beaches, rivers, and more.  During our travels I made mental notes and took a few photos for reference.  I'm transferring as many memories to canvas and paper as quickly as time allows.

Here's a well known Hopper painting of Two Lights in Maine

I also want to give special thanks the owners of Lucky Stone in East Orleans for their incredible warmth and generosity.  It was an art filled week that allowed us to renew old acquaintances, make new friends, and to spend time with our daughter and her extended field hockey family at Brown University in Providence on our way home.    We also had the opportunity to stop and visit briefly with an old friend from my childhood neighborhood to drop off a painting they had purchased - which will be a subject for a future post.

It was a trip I'll not ever forget.

The painting below is an acrylic on canvas board from sketches, memory, and photos.

Lucky Stone - East Orleans, MA

What is your gut telling you?

"I like what I like.  I can't tell you why, I just do."  That was my Dad's oft repeated saying about Art.  He was a huge fan of Norman Rockwell and one of his favorite books was a book of Poetry illustrated by Maxfield Parrish.  Dad liked a 3d painting of mountains and a lodge in Japan, it was given to him as a present from an inn keeper in Japan and was always up in the house.   The styles could not have been any more different but he liked them all the same.

I do find that the different mediums I work with all inform one another.  For instance, I find working in pen and ink makes me think further about composition and design as the medium is so direct and unforgiving.  I know that I've barely scratched the surface of Pen and Ink.

I enjoy studying the many moods of the ocean.  The power of the waves.  The color and the shapes in the rock and in the surf, the reflections of the sun and moon, the mist, sea fog and foam, and , the movement of the waves create constantly shifting and new fascinations to me.  This is all purely the visual and doesn't even take into account the impact of the sounds and smells of the ocean.

The same composition of rocks and beach or a cove could literally be painted daily or throughout the day and every painting would be different.   Claude Monet studied the effects of light on subjects in series such as haystacks, Rouen Cathederal, Houses of Parliament and more.  The same subject in different light and atmospheric conditions held his interest (not to mention ours for more than a century) because the challenges presented and, therefore the subjects themselves were, in fact, different.  Sometimes subtle differences, sometimes dramatic differences.  

I remember reading a note from Winslow Homer describing one of his paintings to the dealer, describing in great detail the lighting effect of the clouds being 15 minutes before sunset and how different the lighting would be 15 minutes after sunset.  It's not something that the casual observer would even notice, but master artists such as Homer and Monet could never be described as casual observers of the world around them.

It's interesting to note that even people with little to no interest in art can, if they are familiar with the subject matter, can "tell" if a realistic picture "rings true" with their expereience.  They may not be able to describe what is right or wrong with a picture but their "gut" will let them know if something "isn't quite right." 

Acrylic

Acrylic is my second choice for on location painting.  It dries incredibly quickly - which can create some challenges but it allows for many of the same properties I mentioned about watercolor.  The primary advantage I find in acrylics is that areas can be quickly painted over and it can also show brushstrokes which can add greatly to the feeling of movement within a painting.

Pen and Ink - Breakers Two

I'm not sure what started me on this particular exploration of pen and ink but I do find it quite enjoyable.  I work in a variety of media: Watercolor, Charcoal, Acrylic, Oil, Pencil, and most recently Gouache, and Mixed Media experiments.  I'll write more about the differnt media in subsequent posts.

Charcoal 

Charcoal is probably the medium I enjoy working with the most.  I love its flexibility and the acutal feel of working with Charcoal.  It's a medium that can be worked with very rapidly and can create both fluid compositions as well as highly detailed drawings with very wide ranging tonal values.  Charcoal can also be layered and built up over time should one choose to do so.

Watercolor

Watercolor is another medium I enjoy very much.  It's my first choice for painting on location.  I find watercolor is able to capture so many of the effects found in nature very quickly - which is especially important as the light is constantly changing.  I also believe watercolor to be far more flexible than the common public perception.  While its true that its important to plan your lightest lights and darkest darks - beyond that I find it to be a very maliable medim.  I personally prefer transparent watercolor and "untouched" watercolors done in one session - but thats simply a personal preference.

Oil Painting

As of this writing, I've only done a couple of oil paintings on location.  I find it challenging to store the wet paintings while on the move.  I haven't really taken the time to explore what exists for this beyond the paintbox itself nor have I taken the time to try to invent something due to the ease of working with watercolor.  I enjoy working with Oil Paint in the studio, but have done little of it so far.  I currently use water soluble oils as I don't really have a ventilation set up for oils.

Show Me - Oil over Acrylic Base

24" by 36"

Gouache 

I've just begun working with gouache so I have very little experience to comment on.  I've just begun experimenting with this medium, having experimented with working gouache over charcoal drawing and to add a few highlights to abandoned watercolors.  I think there certainly are possibilities.

Gouache over Charcoal - New Hampshire Memories

12" x 18"

Mixed Media -Experiment -  Abandoning worry about what "could happen" is incredibly freeing.  I had a charcoal sketch that I'd set aside long ago.  Never quite satisfied with it.  I decided to experiment by  putting watercolor over the drawing.  Below is the result.

Mixed Media - 12" x 18"

This process helped me work out different compositions.  Although the "look" is different I ended up liking it more than I thought I would.

So much for waiting

Well I said I'd set this aside, and I did for less than 24 hours.  This represents a few finishing touches which I think improve the overall composition and painting.  The wildflowers on the middle ground actually reflect what was on location (albeit on a hill that would have been out of view to the right referencing this paper).

Here is a side by side view.

 To the right was the original pass at the subject.  It appears darker here for some reason.





Below is the updated version with a few touch ups in the sky, mid ground, and foreground.

Onto the next painting.

Lisbon Farm in Summer #2

Acrylic on Canvas Board 18" x 24"

This is my latest painting.  I am going to set it aside for now - I'm probably done with it, but I want to get some distance from it before making a final decision.  

I work in watercolor, oil, and acrylic in addition to charcoal.  In most cases, I don't decide on what medium to paint with prior to discovering a subject.  In this case, I decided to paint an acrylic before choosing a subject.   I hadn't painted an acrylic or a larger subject in quite awhile.  I decided to pursue another interpretation of my last on location painting.

I also wanted to experiment again with a toned canvas again.  The few times I've done this in the past, it definitely helped create a stronger sense of color harmony and tied the pictures together. 

In the past I've tried ochre's or sienna's.  In this case I decided to utilize ultramarine blue as a base tone.  As I was covering the canvas, I added more intensity to the ultramarine toward the bottom of the canvas to try to add a sense of weight and substance to the foreground and a sense of space and atmosphere to the sky.

Acrylics dry so quickly that I was able to start working on the subject without delay.  Below is a photo of the first few passes at the background of the painting.

Exploring Harpswell

I spent Friday morning exploring Harpswell and South Harpswell.

My first stop was at the driveway entrance to the former home and studio of Stephen Etnier.
The land is no longer in family hands , the house and studio are long gone (which is another story all together).  However, the area surrounding the grounds of the studio is striking.  Farmland, spruce forests, wild ponds, and working houses of lobster and fishermen with boats large and small, for working and for pleasure.  The road was serpentine and very narrow.  That, and the fact that I was an uninvited guest, I didn't stay long.

Here is a photograph of "Old Cove" house and studio from the dock (uncredited - StevenEtnier.com)  I could understand why Steven Etnier chose this place to build his home and studio.  I must admit that I imagined seeing his good friend Andrew Wyeth visiting captivated by the endless subjects to paint at every turn.

My second stop was a subtly marked parking area (a Maine tradition) alongside a cove.  There was a picnic table and access to the water a short walk across the street.  It was a low tide with small waves lapping against a beach of tiny rocks - nothing like the cliffs pictured above.  Maine and New England are filled with these unadvertised hidden gems.  They are well worth the effort to find. 

From the parking lot, there was an easy hike, just over a mile, through a spruce forest to another cove with a similar pebbled beach with one large difference.   It was largely covered by snails that hadn't burrowed into the sand yet.  The walk reminded me of childhood days.  Walking along the towpath through the pine forests along the remnants of the Cumberland and Oxford Canal near my childhood home in Westbrook.

Large pines with thick roots snaking across the ground.  Evidence of the wind surrounds you murmuring through the pines.  You can see the treetops swaying, the patterns of light shifting silently on the ground, the creaks and pops of pines swaying in the wind,  yet the air remains very still inside thick stands of pine.  There were numerous deadfalls, trees toppled by the wind, caught by their neighbors before they reached the ground.  Those trees still standing had many gnarled dead branches - unable to reach the shafts of sunlight soon enough to support life -  create abstract patterns on the rust colored floor, low ferns, branches and tree trunks.

This Pen and Ink is an impression of the entrance to the forest path as well as some of the interesting scenery on the way to the beach. 

Summertime Opening Night - River Arts

Robert Kahler landscape paintings

5 mins · 

Lisbon Farm, Watercolor This painting was accepted into the Juried exibition "Summertime" at River Arts Gallery in Damriscotta Maine. The opening of the show is tomorrow evening. It's going to be a busy night... Art Show then back to Lisbon for the Moxie Festival Fireworks!!

https://robertkahlerlandscapepaintings.blogspot.com/2018/06/lisbon-farm-charcoal.html