Summer Show at Powers Gallery

I’m pleased to announce that several of my new paintings will be featured in the Powers Gallery Summer Show, opening June 24 with a 4-7PM reception. The gallery is located at 144 Great Road in Acton, Massachusetts, in a restored landmark farmhouse. Preview below.

TM8928 After the Storms 36×54 oil on panel

TM8996 June Morning 36×48 oil on panel

See you there!


Early Thaw

TM9003 Early Thaw 36×40 oil on panel

Early Thaw is a meditation on the color blue and its interaction with neutrals and the complement orange. It is also my response to a heat wave and mid-ninety degree temperatures in the studio. I needed to cool off, and what could be better than a winter painting to immerse me in a a chill?

That said, I’ve love the very last leaves that cling to branches all winter. They are papery ┬áthin and manage to hold on through all the gales and bluster. I admire them. I see them every year, and they never disappoint, or fail to inspire me. Pale and rather ghostly in contrast to the brilliant blue sky, they always make their presence known. They add a touch of wit to the serious season. Details below. Enjoy.

TM89003 Early Thaw – detail from left and below center with dry, fluttering leaves reflected in water on ice

TM9003 Early Thaw – detail from above center with leaves, branches, and vines reflected

TM9003 Early Thaw – detail from left side

Technical painting notes: I used a soft rubber roller to apply a thin, translucent sheen of pale blue gray to the water, to suggest a hint of ice


Solo Show at Greylock Gallery opens July 1

TM8906 Ode to a Woodland Pond 36×60 oil on panel

I’m pleased to announce my show opening July 1 at Greylock Gallery on Spring Street in Williamstown, Massachusetts. There will be a public reception Saturday July 1, 4-6pm, and I’ll be there. Several large paintings were shipped out last week, including Ode to a Woodland Pond. The gallery will also be introducing my new series of small, oil on paper pondscapes. See you! Continue reading

June Quartet

The wave and coastal studies continue, with an emphasis on learning to control the viscosity of the paint and the manipulation of the palette knife. When the paint is just the right liquidity, I find I can layer strokes and take advantage of the “skips.”


Sunlight and Shade

TM8464 Sunlight and Shade 32×32 oil on panel – newer version

It’s hard to know when a painting is finished. Sometimes they come back from a gallery and I hardly recognize them. It’s as if someone else painted it, or maybe it’s just that I’ve learned more since , and am seeing it with new eyes. Sunlight and Shade is a case in point. It was on exhibit for a while, then returned to the studio. I knew I would use it as a starting point for a new interpretation of the subject, one with brighter color and a more technically varied painterliness. The first version, below, is restrained. The brush marks are smaller, as if threading a tapestry.

TM8464 Sunlight and Shade 32×32 oil on panel – first version

Technical painting notes: Using a soft rubber roller, I was able to make the large gestures of the new design right over the old painting. I also used a mixture of oil and mineral spirits to smear the paint. This interrupted the original and allowed me to think about what was left in a new way. I added the large white cloud and brighter blue sky, and used the layering of roller and brush marks to weave a more vigorous pattern. Details from the newer version are below.

TM8464 Sunlight and Shade – detail from top edge

TM8464 Sunlight and Shade – detail from low and to the right of center with sunlit cloud, ripples, and reflections

TM8464 Sunlight and Shade – detail from right side showing use of layered textures, brush and roller work






September’s Ode

TM8997 September’s Ode 30×50 oil on panel

Strong ultramarine blue can be intoxicating, and I was drunk with it when I painted September’s Ode. The brisk blue autumn skies contrast so well with strong yellow golds and slightly violet browns. The whole painting was an excuse to use those colors, though I did add some vestigial green to balance it. What can I say – happiness and blue skies are meant to be savored. Details below. Enjoy.

TM8997 September’s Ode – detail from upper right showing layers, use of brush, scraping into wet paint, spatter

TM8997 September’s Ode – detail from right of center showing use of spatter and roller marks

Technical painting notes: As you can see from the details above, the painting is a mixture of controlled and loose painting. I used a soft rubber roller to apply the first base layer, then used it again for some of the last few green and yellow leaves. The roller’s staccato rhythm and choppy marks lend variety. I spritzed the base layer with mineral spirits to create the light “dots”, looking for a way to let it show through and keep the actual paint interesting. The process of layering transparent glazes and semi-transparent strokes increases the sense of depth. I use Winsor Newton Liquin medium to increase transparency and to speed drying.

TM8997 September’s Ode – detail with reflections of cumulus cloud and yellow leaves

TM8997 September’s Ode – detail from right side with reflections on shallow water, sunlit pond bottom showing through

June Morning

TM8996 June Morning 36×48 oil on panel

There can never be enough glorious June mornings. After several days of cold rain, this is the view I encountered. And, lucky me, an old friend was there to share it. Enjoy. Details below.

TM8996 June Morning – detail from foreground with an old friend on his morning rounds

TM8996 June Morning – detail of woods from upper left edge