Breakers Two

Pen and Ink - Breakers Two

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.

These drawings are half memory half imagination from my childhood explorations of Higgins Beach in Scarborough Maine, Two Lights in Cape Elizabeth, and my most recent trips to Pemaquid.

Tidal Pool, Incoming Tide - Pen and Ink

Crashing Surf

I am continuing to experiment with seascapes.  Despite spending many years along the coast, I still have a great deal of study to do to capture the power and movement and color of the sea.  This is a small watercolor with some use of chinese white as well as scaping with a razor blade to achieve some of the whites

This painting is not of an actual location, but is patterned after the rocks along the coast near Two Lights State Park in Cape Elizabeth Maine and Prouts Neck in Scarborogh, Maine.  

I've had the privilige of seeing a number of Winslow Homer's original paintings at the Portland Museum of Art as well as in Boston.  His seascapes are incredibly powerful - and make you feel as though you are really there on the cliffs by the sea.

Winslow Homer's studio is now owned by the Portland Museum of Art and tours are conducted on a regular basis.  The cliff walk around Prouts Neck is also open to the public.  Like many places in Maine, the trick is to find a place to park.  The cliff walk can be accessed from Scarborogh Beach which is an amazing beach by its own right.

Other artists whose work I admire in regard to sea scapes are John Stobart, Carl Evers, and Frederick Waugh to name a few.

As for the handling of water and light, I continue to be drawn to the works of Frank W. Benson, Aiden Lassell Ripley, and Ogden Pleissner.

I don't study other artists work too closely as I do not want to imitate anyone else.  However, there are times if I can not work out a solution to a problem that I will refer to other artists work if it's a situation where I can not physically go  to a location to work something out (for instance, if I'm working on a fall scene in the winter or vice versa).

Copying artists work in museums is also a time honored way of learning from previous masters.  You'll need to check with museums to see their policies and restrictions if you are interested in trying this.  I've never done it, but who knows, perhaps some day I will.  In a nutshell, any painting you do must be of a different dimension than the original so that there could be no danger any copy being confused for the original.

Scarborough Barn by the Sea

This was the first pass (in charcoal) of a subject that began nearly two decade's ago.   It is not an exact representation of the subject but a composition of design elements that do exist, just not exactly in this configuration.

The process of choosing a subject, for me at least, is almost unconscious.  Sometimes it's an instant connection with a scene - often related to lighting, color or other effects of nature.   More often, its a place that I have a connection with through family, friends, or that I have visited or explored on my own.

This is a subject that began first as on location watercolor sketch.  Once the sketch was done, I set it aside as I often do.  I am energized by painting on location and this also gives me a backlog of subjects to explore further when getting out on location is not possible.  It is also just good practice of both oberservational skills as well as painting skills.

Yesterday, while Julie was shopping, I did a couple of studies (rough rough rough) studies of clouds. with watercolors.  Never intending for a full painting to appear, but as practice and perhaps elements that I'll use in later paintings.  It took me quite awhile to mature as a painter - I always wanted attempts to work out "right" and to produce finished works every time out.

I was watching a documentary on one of my favorite bands, The Eagles, and there was a segment that just made me laugh out loud and helped me to relax some too.  Glenn Fry was talking about being nervous about writing his own songs.  He was talking with some of his friends (Jackson Browne I believe) and he shared his secret fear when he was encouraged to write his own songs...

"What if they suck?"

"They will.  They will for awhile.  Just keep at it and one day they won't suck so much."

Thank God for perseverance.  So much beautiful music came to us through his efforts!  I was just reading about someone asking Walt Disney the "secret" to his success.  His answer was along the same lines.  "There is no secret.  You have to dog it.  Keep working at it day and night till its done and done right."

I've always enjoyed watching people I've worked with who have the passion to excel and who have put in the work to do so.  This group includes artists, muscians, teachers, heavy equipment operators, athletes, and more.   When someone is able to make something look easy - you can bet that it isn't and that a lot of practice and experience has gone into their work.

"The will to win is worthless without the will to prepare."   Thane Yost

Whatever your passion is - dive on in.