Currently on Display

Breaker - Cape Elizabeth

Oil on Canvas Board 12" x 16"

This painting is currently on display in the members show at River Arts Gallery in Damriscotta through August 15th.

Swift River March

Mixed Media

Oil over Acrylic

12" x 16"

This painting was a continuation of the painting below.  There were parts of the painting that seemed flat to me and I wanted to add some more life, color, and movement to the painting.  Here they are side by side/

Here they are side by side.  I think it works a little better now than before.

Breakers

Breakers - March

Oil on Canvas Board 12" x 16"

I've always been fascinated by the ocean.  This oil on canvas is drawn from memory of countless hours watching the ocean since I was a child - particularly along the Maine Coast.  There are so many different rhythms, colors, smells, and sounds to the ocean - that I believe you could paint in the same spot every day for years and never have two paintings be identical.  This spring and summer I am going to make a concerted effort to paint on location at the coast.  Just need to pick my spot.

Wyeth Country - Cushing Maine

I dropped off three paintings to be evaluated for an upcoming juried show in Damriscotta.  I used this opportunity to take a trip to Wyeth country - specifically Cushing and the Olsen house (closed for the season).

It was late in the afternoon, but an unseasonable warm and sunny day for mid winter.  I had no real desire to paint the Olsen house, that was one of Andrew Wyeth's realms.  I was more interested in paying my respects to the artist and its now long famous inhabitants.  We drove down the dirt road to the small cemetery perched on the oceans edge.  I was reminded of NC Wyeth's painting "Here, there be Giants." as the afternoon shadows lengthened and the brilliant orange sunset settled in.  After paying my respects, I explored before the light disappeared.

Below are quick, and small, pen and ink sketches of Andrew's view of the Olsen house and a view of the ocean at the far end of the cemetery.  (notes in the margins).

                                         

I tried to augment my notes of color with an oil pastel sketch - that did not end well.   I also executed a quick water color study - intentionally keeping this loose to try to catch the atmosphere.  The reflections and shadows on the ice were more than I felt I could capture in watercolor so I decided to use this study as the basis for an oil painting.

I plan to do both of the Pen and Ink sketches above as finished paintings once I work out the compositions more.

Below is the oil I began today - Sunset on Ice (11" x 14")

I had originally planned to do more, but I quite like the simplicity of this composition so I'm just going to let it sit for a bit before adding more or simply signing it as is.

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.

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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

Reflections

"Reflections" - Oil 18"x 24"

I've always been humbled by nature.  In particular the oceans and as in this scene - the mountains.  It's always amazes me how quickly the noise and concerns of everyday life disappear when entering the woods and exploring along a river.

I have fond memories of camping with family and friends, but I have equally fond memories of the times spent exploring alone and recharging to the rhythms of nature.

I thought about including other figures in this scene, perhaps a canoe or a cabin in the distance. However, as the painting developed, the emotion and mood I was reaching for was that of a solitary figure.  In terms of scale, the figure is a small portion of the picture, but for me it was a corner piece of the puzzle.

Inspiration - better late than never.

I've had so many wonderful encounters on my artistic journey.  One of my first inspirations was my wife's grandfather - Ed LaSalle (nee Lassell).  I remember my first trip to Ed's house when I was dating Julie.  We walked into the living room and I was immediately struck by the paintings which were hung with care throughout the living room and music room.

The first painting I saw was a large fall scene of Tumbledown Mountain.  I can't find a photograph of that painting at the moment.

The painting below was hanging behind the living room couch.  This lighting isn't the best, but it was a large western (3' x 5')  Unfinished, but still very beautiful.  Ed was an illustrator in the 1930's - 1940's and painted landscapes on location well into his 80's.  More on that for another time.

I asked Julie about the paintings.  Never expecting to hear it so casually mentioned that her grandfather,and her grandmother were responsible for the art which filled the house.  The painting below was on the wall near the scene of Tumbledown.  This painting was by Ed's brother, Charles LaSalle (Lassell) - one of the country's leading illustrators in the 20's through the 50's.  

                                                 

The family of artists also included Ed's cousin, Aiden Lassell Ripley, and Ed's son Aiden LaSalle.
I decided to do a research project on the family of artists as a Christmas Present for Julie and the people I met on that journey and the art they shared with me enriched my life more than I could ever imagine.  Subjects for other posts later.

Below is an example of a painting by Aiden Lassell Ripley.  Aiden was a national award winning artist who became the president of the Guild of  Boston Artists from 1959-1969.

Years after Ed passed away, I was able to purchase one of his paintings as a Christmas present for my wife.  Having that painting hanging at the foot of our bed truly inspired me to try painting.      

Where did that idea come from?

Question:  Where to shop for good ideas?

Answer:  Anywhere.

In this post, I'm not speaking about copying ideas for paintings or compositions - but rather about developing your own working methods and organization so that you can spend most of your time actually painting.

I enjoy hearing about other peoples working methods.  You'll develop your own working methods through time and trial and error.  Take what works from others and make it your own.  In my experience this is as true for art as it is in all walks of life.  I don't have just one working method - for those of you who know me that comes as no surprise. However, I do spend more time now planning a painting than I used to - but its taken me 15 years to get to that point.  Time wasted looking for supplies or reference sketches does get old after awhile.

Whenever possible I try to paint the subject on location. I've found that when I refer back to on location works there is so much more in my memory that I was consciously aware of at the time.
When I cannot paint on location, I try to make some quick studies or sketches on location or at least to spend some time getting the feel of a location.

The three sketches below were completed on a camping trip to Houghton Maine years ago.  Most of my on location paintings are done in watercolor - due to ease of transport.

Watercolor sketch 12"x16"

This watercolor was done on the first day of the trip.  I found a clearing halfway up a wooded hill overlooking the camp site.

Oil  12" X16"

This was one of the first times I attempted oils on location.  This view was looking up the tote road from our campsite at ground level.

Watercolor  Sketch 12"X16"

This was a very quickly executed watercolor on the last day of the trip.  I'd intended to paint the campsite as well - but swarms of black flies had other ideas!!

My paintbox holds two twelve by sixteen canvas boards and I'm able to put a small watercolor pad behind it.  I tape the watercolor paper to the back of my easel and my brushes, paints, watercolor paintbox fit inside easily.  I keep water, papertowels, and other supplies in a small backpack and have a portable chair although I will often find a tree or other surface to sit on and some other times I'll paint standing up.  This set up literally takes no time at all to grab and go.

The trick and ,for me, the challenge was how to organize my paintings and sketches in my studio.  More about that later.