"Sunset Harbor" (oil on linen; 12" x 12")

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A small working harbor at Newport, OR is one of the most charming harbors I have ever seen.  At sunset, it is even more beautiful.  I have painted the subject four times in different mediums and styles.  What can I say?  I am enchanted by Newport, OR!

"Red Sails" (watercolor on Yupo, 20" x 26"; sold)

"At Ease" (acrylic, 18" x 24"; sold)

"Red Sails" (oil, 18" x 18"; sold)

"Azalea Heaven" (pen and wash; 10" x 8")

"Azalea Heaven"

My family had a health scare recently.  My husband has been sick for a while and was hospitalized for three days.  He is now on the mend and recuperating at home while trying to catch up with his work.  My quiet life was turned upside down briefly, leaving me with little time or energy to make art.

But who am I without art?  I draw/paint, therefore I am.  I sketched in the hospital room, during my daughter's flute lesson, and at night at home, which calmed my nerves.  I believe in the healing power of art!

"Red Sailboat" (pen and wash; 8" x 5")

"Peter's Sickbed" (pen; 5 1/2" x 7")

"Two Sabrinas" (pen; 5 1/2" x 7")

"Lavender Fields of Provence" (pen and wash; 10" x 8")

"Ocean Mist" (oil on linen; 10" x 10")

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Aquamarine ocean waves crash against a multi-colored dark rock.  Sprays of seafoam cool and calm our senses.  Ah, I love ocean!

"Historic Portsmouth Harbor" (oil on linen; 9" x 12") sold

sold

Time was running out.  We had only one day left in the country before leaving for the town (i.e. London) for the final leg of our English trip.  After a lengthy discussion, we decided to visit Portsmouth Historic Dockyard.  It was close from Sidlesham, where we were staying.  Besides, my husband LOVES ships (and airplanes).  Yes, I am one of those wives who have suffered over the years to keep company of their husbands wowing over old ships and airplanes at museums.

Actually, I was glad of our decision because I got to go inside the HMS Victory.  This is the famous ship on which Lord Horatio Nelson died at the age of 47 at the Battle of Trafalgar in 1805.  As an Anglophile and British historian, it was touching to see the very spot of his death.  You see, the British and the French under Napoleon had been fighting like cats and dogs during the Napoleonic Wars.  After the heavy losses suffered in this historic naval battle, Napoleon had to give up his design to invade the British Isles. Hurray!

We heard an amusing (or macabre, depending on your taste) anecdote about the disposal of Lord Nelson's body.  He asked that his remains should be brought back to Britain for a land burial.  The crew came up with a clever idea of  "preserving" the body in a large barrel of rum for the several weeks' journey.  After landing, they toasted with "Nelson's Blood".  It was full-bodied!

The beautiful ship featured in the painting is the HMS Warrior--the world's first iron-clad ship from 1860.  Soon after I took the reference photo with puffy clouds, the sun disappeared for the rest of the day.  I was lucky!

HMS Victory; it is an impressive ship, don't you think?

"Kilauea Lighthouse on the Cliff" (oil on linen; 14" x 11") sold

 

sold

The reference photo for "Lighthouse on the Cliff," taken during the second visit

The second visit to Kilauea Lighthouse; Can you see the rainbow?

When I am at my home base, I choose a plein-air painting location from my previous experiences. There are several favorite places, to which I keep going back for better or worse. No big surprises. I know exactly what scenery will greet me when I get there.  However, I have never been to Kauai, so I didn't know what to expect. There has been hardly any snow in this exceptionally warm winter. Kauai was about 20, not 50, degrees warmer than northern Virginia, so the thrill in landing suddenly at a tropical island was somewhat diminished, temperature-wise. Still, the island was breathtakingly beautiful in any angle, altitude, and weather.

The first time when I saw Kilauea Lighthouse on North Shore, I wished I could paint the awe-inspiring sight then and there. But it was raining heavily (do you know that Kauai is one of the wettest places in the world?), which forced us to wait in the car for half an hour until the rain let up a little for picture taking. Later that day, we stopped by at the lighthouse for the second time. The rain had stopped and a rainbow was draped over in the sky! The lighthouse itself glowed as if it was spotlit magically. It was getting late, however. I vowed to return to paint it another day.

Red-footed boobies

On the third and final visit to the lighthouse and Kilauea Point National Wildlife Refuge on a windy, but sunny day, we saw red-footed boobies, Laysan Albatross and other birds, which nested at the Refuge cliffs. My heart swelled with an unusual, I-am-lord-of-the-world, kind of emotion, as I was standing high at the lookout, looking down at the soaring birds!

"Kilauea Lighthouse, Kauai" (opaque watercolor, 15" x 11")

Sketching the lighthouse

I found a relatively sheltered spot at the lookout and painted "Kilauea Lighthouse, Kauai" in opaque watercolor, clutching the paper in fear of losing it to the Pacific Ocean.  The lighthouse was painted in last over the blues of the ocean.  You can do that in opaque watercolor!  Of course, I wasn't "done" with this place.  "Lighthouse on the Cliff" was painted in the controlled environment of my studio, away from the ocean breeze, crashing waves, and swooshing birds.  One can't have everything, can she?



"Maine Event" (mixed media; 14" x 20")

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Here is an old painting of mine out of which I got a lot of mileage, since it was juried into The Art League American Landscape Show in 2000, and received the second place in the Potomac Valley Watercolorists Invitational Show in 2003.  You will be surprised at how it all got started.

First of all, it is not quite in my usual realistic style.  My foray into a semi-abstract art happened out of my thriftiness.  On a piece of a half-sheet watercolor paper, I had done a drawing of Cliffs of Moher in Ireland.  I didn't like it; instead I decided to paint fishing boats in Maine.  Unfortunately, I must have marred the paper with the pencil line, which became noticeable as I began to drop paints onto the water area.  Oops.  As the painting was going fine so far, I waited until the paper was bone dry, then connected the indented line, changing here and there to make the dark shape interesting.  (As you can sort of tell, I had turned the paper upside down when I started the second project.)

The painting proceeded in the usual watercolor fashion--layers of darks on lighter shapes.  But when it was done, something was missing.  It felt empty and boring.  I brought out my big box of colored pencils and began to add dots--I went pointillist.  After thousands of dots, the painting glowed, partly because of the wax in colored pencils, but mostly thanks to many dots scintillating against the water--light against dark, dark against light, complementary colors, and so on so forth.  The pointillist masters such as Georges Seurat knew all about it.  A friend of mine tells me that she dreams about "Maine Event."