 |
| Bullitt House, oils on canvas panel, 12" x 9." |
It was one of those typical east coast spring days--if you don't like the weather, just wait a few minutes... An intermittent drizzle had been falling all during the drive and it was overcast when I arrived. I parked and checked in at the Easton Studio School. I was walking toward the historic district to select my painting site and looking at the map when my foot caught on a curb and I lost my balance--I fell forward but managed to break the fall landing on my knees first, stopping just as my nose touched the pavement--whew! Luckily, I didn't break anything, not even skin. A lady driving by saw me fall and paused, until I signaled her I was all right.
I ran into my friend Roberta Staat and we walked around looking for sites where we could set up under cover. She selected Mason's porch, a lovely restaurant on Harrison Street, and I agreed that seemed like a good spot. We were walking back to our cars to get our gear, when I spotted this view of the back of one of Easton's historic homes, Bullitt House. It was a complex subject architecturally, but the garden framed the view so well, it really called out to me. There was a large cedar by the sidewalk where I could get some shelter from the rain if necessary, so I came back here. It drizzled lightly from time to time as I painted, but I stayed dry under the shelter of the cedar.
By noon I had finished my painting but was chilled to the bone; I thought it wise to warm up at the school while I ate my lunch. I walked back to the car to get my brown bag. By the time I got back to the school, the sun was dazzling out of a ragged blue sky. I gobbled my sandwich and then ran off to pick up my painting at the Adkins Arboretum, a short distance away. I hadn't mentioned here that my painting, Maryland Veldt, won the second place Leon Andrus Award at the Adkins Arboretum competition "Discovering the Native Landscapes of Maryland's Eastern Shore" this year.
The run to the Arboretum took an hour. By the time I got back to Easton and started out to paint I had less than two and a half hours left, and it was pouring! Being a die-hard, I went out in spite of that but got so soaked within a couple of blocks that I had to take shelter under a porch. I actually set up right there and tried to paint another street scene, but it was so complex there was no point in trying--it would take too long to paint.
The rain had slacked; I walked over the Mason's to set up on their porch. There was a lovely cherry tree in bloom by an outdoor patio, but somehow the view didn't compose well--I forced myself to start anyway. I struggled with it for more than an hour, obviously not getting anywhere, before I gave up--it would have been better to not push myself at this point. I'd have to scrape off the paint when I got home to save the panel for something better. It was almost time for the lecture anyway, so I went back to the school.
Tim Bell's take on the artist's need to distill from nature was quite interesting. He read several memorable quotes from Carlson's book on landscape painting and Edgar Payne's Composition of Outdoor Painting. I was particularly fascinated by his visual comparison of Edgar Payne's paintings and field sketches of the Sierra Nevada with actual photographs of the sites--I had not realized just how much Payne had not only composed the paintings, but how much "atmosphere" he had added to lend that sense of distance and grandeur to the mountains. I took away much from all these experiences, and the delicious dinner was a wonderful way to end the day. Thank you MAPAPA and the Easton Studio School for a great Paint-out Plus!
