Under Construction

I am in the process of building/rebuilding my blog at a new site.  Many of the links to paintings are no longer active - not sure why, but I am working on it.  Thank you for your patience.

Happy New Year to you and yours!

Mid Coast Maine Marsh

This painting was started and completed in one session in my studio.  So it took me 51 years and two and half hours to paint!

The inspiration for this painting (Acrylic 12" x 16" on canvas board ) came from trips along the mid coast and an acutal location in Brunswick Maine.

While I often paint on locations that I've never been to before, when I do studio work I try to link it to actual on location sketches.  In this case I'd done an on location pencil sketch and some larger charcoal drawings where I attempted a number of different compositions which both simplified some elements of the landscape and elaborated on other elements of the scene as it existed.

We just returned from a vacation to Pennsylvania where I completed a few quick sketches and attempted one painting on location but, to be frank, the Pennsylvania landscape and conditions kicked my a$%.  More on that for another post.

What I did do differently in this painting was that I painted over the Pennsylvania sketch with burnt sienna which gave me a more fully prepped and smoother surface to work on.  I also liked how that base helped warm the painting up more than simply using a white canvas.  Have seen a number of artists do this, but I'd never tried it before.  Something I definitely will continue to experiment with.

If you've never tried painting outdoors - I encourage you to do so.  Check out John Stobart's  "The Pleasures of Painting Outdoors" and "Worldscape" series one and two.  I had the pleasure of meeting John a number of times and he is such an inspiration to so many!

Josiah E Chase House, East Limington Maine

Pencil sketch / study of Josiah Chase Octagon House – Limington Maine.

I’m amazed at how on location sketches speak to me even after more than twenty years.

This sketch was completed shortly after I began painting – more than twenty years ago.  There are so many things that I observed, consciously or not, at the time that I was not able to paint – but the painting brings those memories back.  

This octagon house was in the process of being restored to its former glory.  Even unrestored there was an elegance about the house and surrounding property.  The house is surrounded by massive oak trees and overlooks the Ossipe and Saco Rivers.  The house was built @ 1858 for sea captain Josiah Chase (1819-1898) and his family.  His children left a momento (their initials) carved into one of the widow’s walk windows along with the date (which I can’t recall).

The painting below was done on location.  It was a beautiful, breezy day and I set up in the shade of one of the oak trees.  I completed another painting, a watercolor, during this visit as well.  I need to destroy the painting, it was badly damaged in a flood a few years back, but before I did I wanted to make another sketch using the on location painting for inspiration.  I’ve squared off some larger drawing paper with margins for notes, as well as for mattes, and I wanted to see how this might work.

I’ll use the sketch and notes for a larger work in watercolor and oils, perhaps doing similar views in different seasons.

I would also like to reach out to the current home owners to see if they would mind if I did some more work on location!  While researching online I found some very interesting information on Josiah E. Chase including an abstract of a journal kept by Chase on a voyage before he was promoted to captain.

Log/journal, kept by Josiah E. Chase, relating to a whaling voyage to the Atlantic, South Pacific, and Indian oceans.  Includes descriptions of types of whales seen or taken, collision at sea, death at sea, badly damaged ship sailing to Sydney, Australia, for repairs after being set on fire by members of crew at Fiji, smoking ship for stowaways, indigenous people, punishment on ship, and shipwrecks including the ship Russell (1847); and whale stamps, accounts, poetry, and crew members names mentioned thoughout log. Other places represented include Lord Howe Island (N.S.W.), Bay of Islands, and Tonga.

National Maritime Digital Library

It's all about the sea...

American Offshore Whaling Voyages: A Database

•  Voyages of Chase, Josiah E. 

Vessel Departure Arrival Hailing Port Destination Sperm Whale Bone Source

Martha (Ship)

1850, May 1853, Nov New Bedford, MA New Zealand 1724 158 700 *

Elizabeth Swift (Bark)

1854, Nov 1858, Oct New Bedford, MA Pacific 1781 0 0 *

Elizabeth Swift (Bark)

1859, May 1863, Sep New Bedford, MA Pacific 1356 80 1800 *

Hunter (Bark)

1867, Dec 1871, Jul New Bedford, MA Pacific 2441 36 0 *

California (Ship)

1872, Aug 1876, Aug New Bedford, MA New Zealand 2600 200 1500 *

James Arnold (Ship)

1878, Oct 1882, Sep New Bedford, MA Pacific 1370 180 0 *

I don’t know how families survived these long periods of absences (four year whaling voyages).  

His wife accompanied him on at least one voyage – their daughter was born at sea.  At least they had a good sixteen years after his retirement to enjoy their home together.  Imagine the stories we’d hear if these walls could talk.

fallen branch trinity college

It wasn’t until I saw some of Andrew Wyeth’s works in person at the Farnsworth Art Museum in Rockland, that I was truly moved by his artwork.  Reproductions simply don’t do his work justice.  His work is so subtle yet incredibly powerful.  For myself, I prefer more color and a broader scene as a subject.  But by really studying a subject, I know I’ve now gained an appreciation for how easy it is to get lost in any subject. 

For instance, I’ve spent countless hours observing the ocean along Maine’s coast – particularly during storms.  Haven’t painted many seascapes yet – but that is another story for another day.  What I’m beginning to understand, is that the same complexity of color, detail, nuance, composition, that can be found in a coastal scene can be found in a tidal pool, or a large rock in a field, or, in this case I decided to do the sketch above.  Something that would have held no interest for me in the past.  It was between my daughters field hockey games at Trinity College.  The players and parents were seeking relief from the heat on the fields beneath this tree.

In no way, shape, or form, am I attempting to equate myself with Andrew Wyeth – but he did inspire me to try something different.  To pay attention to, literally, what was directly in front of me. I wondered what I’d learn from trying this.

I found myself totally engrossed at the subject.  A few people came over and asked if I’d mind if they took a look at what I was drawing.  I didn’t mind.  Their comments were pleasant and polite.  They were surprised by my choice of subject and did share that surprise with me.

I was fascinated by the pattern of shadows on the lawn that ran uphill to the fence surrounding the field hockey fields.    The body language and expressions of the players and parents told another story entirely, and I’ll focus on those types of gestural drawings at another time.

I’ve already noticed how this exercise is informing my use of shadows in drawings and paintings and the importance of shadows and values to create depth in drawings and paintings.

If you haven't already done so, please see my facebook page (Robert Kahler Landsape Paintings@mainepleinairpainter) and like it if you are so moved.

Thank you

Bascillica of Sts. Peter and Paul

The Basilica of Saints Peter and Paul in Lewiston Maine is a beautiful and imposing structure.  The city has grown up so much so there are times where the city buildings block out the views of the cathedral despite its location high up on a hill.  Still you can’t help but notice the spires of the towers if you spend any amount of time in Lewiston and much of Auburn as well.

A few nights ago, I searched for a spot to paint the Cathedral at night.  I completed this quick sketch in the parking lot of a convenience store.  It was a very active neighborhood, but I was able to complete this on location charcoal sketch.  A few days later, I went to a location closer to the cathedral and completed this watercolor sketch.

Much of the cathedral is blocked from view by apartment buildings and the like.  Something about an old filling station in the neighborhood struck me, so I made a few quick color and structural notes for later use.  The grandeur of the cathedral juxtaposed with the dilapidated condition of the still working gas station told a story to me.  Both institutions played a very important role in the creation of the fabric of the surrounding communities.  This cathedral was built with both the labor and the donations of the hard working immigrants who made Lewiston and Auburn their home.  Each one supporting the other. 

These are both just quick studies but it was very energizing to get out sketching on location.  I decided very quickly to avoid getting trapped by too much detail in the face of the cathedral.  Not really a difficult choice for me, but I still needed to make a concious choice to go for the broad effect as this is a very complex subject.

The Cathedral changes so much in the changing light that it will certainly be worth going back to make more detailed studies in changing light.

Wilson's Mills, ME Sun and Storm

Wilsons Mills ME. Sun and storm From an on location study. The mountains and mountain valleys particularly interest me due to their sudden changes in weather and light. I remember quite vividly being very warm painting the on location study despite setting up in the tall grass in the shade of an old Spruce. By the time I hiked back to the campsite it was raining and quite cool.

Wilsons Mills

Golden fields, slow moving water with violet deep swirls, virtually no sound 

to the rivers ebb and flow

set up camp in the river basin

so still, the abrupt loud whoosh of crow's wings

snaps my head 'round - with no wild animal to be found (this time)

till I look up and slowly realize what I'm hearing

slowly, for it takes time to leave civilization behind

While painting, observing nature

nature was observing me

moose and deer 10 yards behind

moving through the tall grass and the fallen, gnarled brittle branches

with a grace and quietness not to be believed 

had I not been there

The sound of wind through the tall grass, pine, and spruce

Soothing - reminds me of carefree days exploring the woods close to home

later, the windblown birch branches are a metronome

slow and steady 

a soothing tempo

The fall chill - briefly held at bay,

so hot 

layers pealed, the shade of an old spruce to work  

but a storm was coming

tumbling leaves, thickening clouds, and the rush of cool air announces the coming rain

The metronome whispers urgently

time to go

Bath New Hampshire

                                     

While driving to a wedding in Vermont, Julie and I happened upon a village that looked as it must have looked 250 years ago.  Farmland filled with corn right up to the river's edge.  Beautifully maintained farm houses and barns.  And in the town center, a church, a huge covered bridge, and a general store that claims to be the oldest continuously operated general store in the United States.

We had no time to really stop and explore Bath NH on that first trip, but the town has never left my mind.  Many years later, we went back to Bath and I hiked across the covered bridge, up the hill on the other side and did a very quick pencil sketch, from which this charcoal drawing is taken.

For years I was content to simply leap in, draw or paint without really considering the composition or other elements of the scene in front of me.  From time to time I still do that, but over time - through talking to others, reading, and experimenting on my own I've begun a more systematic approach to painting and drawing.  I want to maximize the time I have to draw and paint.

As many of my paintings as possible are started (and completed if possible) on location.  Even a five minute sketch helps to recall the mood and details of a place even nearly 20 years later.

The next step is to examine the on location study in more detail.  Are there different compositional arrangements that will make for a stronger painting.  These are for the most part, very loose line drawings until I've settled on a composition...  This is a very quick and fun process that I'm able to do almost anywhere at any time.

The next step has become a finished charcoal drawing (usually 11" by 17").  This step is to more fully establish both the values and the composition of the finished painting.  Although I haven't yet made drawing surfaces exactly the same size (or half or a quarter the size) of the finished painting... I'll probably start marking out those areas to make the transition to larger paintings more seamless.

I don't know if any of you would find these methods or ones like them to be helpful in your journey - I just wanted to share what I've learned through trial and error over the last twenty years.  Although I find being more methodical , as described above, has helped me to produce stronger paintings - I find that nothing matches the thrill of starting and completing a painting on location.

If you've developed other methods that have helped in your journey, please share them.

This first attempt was based on a quick on location sketch.  It never quite worked for me.  The quick on location sketch came out pretty well, but didn't work in a larger format.

                                   

Below is another version of the sketch that I  began working on yesterday.  I've altered the perspective and the angle of the bridge - not quite as it was, but pictorally in the first sketch, the bridge stopped the eye from going into the picture.  Although the empty  left midground did provide balance for the composition, I found it to be too plain.

I've added the beginning stages of apple orchards in the left mid ground as well as farm field in the far distance.  I still have come detail work on the bride and values clarification on the rock wall on the far bank.  I've intentially left out the waterfall in the foreground as it competed with the center of interest.  Plenty of subjects to do from this area.

Seasonal views of this would also prove to be interesting - Spring, Fall, and Winter I think.