"Morning Harbor" (watercolor on Yupo; 20" x 26") sold

sold

As you know, I used to be a daredevil watercolorist.  I would occasionally pull out a full-sheet of Yupo, the  slick, synthetic "paper" with zero absorbency, let my hair down, and do the wild thing.  With Yupo, the artist has very little control over the painting process.  Paints puddle in oddest places and do their own crazy stuff.  "Red Sails" is the probably the best Yupo painting I have ever done.  I absolutely adore its drippy, watery, lyrical quality.

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

"Morning Harbor" is another watercolor painting on Yupo.  It depicts a harbor in northern England bathed in the morning light.  There are no puddles in the painting!  I don't know how I was able to pull it off.  I probably tried a few times to get it just right. (The Yupo surface mars easily; one cannot make corrections easily.)  If I had not told you, you would not have thought it was a Yupo painting.  It has an airy, serene, whispering quality.  Which painting do you like better?

"After Independence Day" (oil on stretched canvas; 12" x 16") sold

sold

The day after the Independence Day in 2002, I visited a marina along the Potomac River and saw the scene.  The contrast between the brilliant sun-lit boats and those in the shadow made an indelible impression.  Full of enthusiasm, I painted a full-sheet watercolor painting, also titled "After Independence Day."

The painting won the Potomac Valley Watercolorists Award (something like the second-place award) in the prestigious American Landscape Show at the Art League Gallery in August 2002!  It was before the age of the digital camera; I wasn't much of a photographer either.  Unfortunately, I didn't have the chance to get the painting photographed properly in slides before the show.

When the painting got sold on the last day of the show, I didn't know whether I should be happy or sad.  Dang!  All I have left of the entire exhilarating experience is a snapshot.  I took a picture of the picture to prove that I didn't make up the story!

"After Independence Day" (watercolor, 22" x 30"; sold)

I cropped the scene for the new, much smaller, oil painting.  Unlike the original watercolor version, for which I did a lot of careful pencil drawing, the new version was done with a minimal pre-drawing.  The background is barely suggested in the watercolor painting; in the new painting the background is treated more boldly.  The result is that the sun-lit boats are highlighted between the darker values of the background landscape and the foreground boats.  So, which painting do you prefer?

"Sunny Marina" (oil on stretched canvas; 12" x 16")

"Sunny Marina" getting block in, next to the reference photo

A couple of weeks ago, two friends and I went to the Washington Sailing Marina on Daingerfield Island in Alexandria, VA. Believe it or not, it is right next to the Washington National Airport.  It can be noisy there and the weather forecast was HOT. But one doesn't hear anything when absorbed in painting boats.  It was actually quite nice in the breeze too.

A small plein air painting I did on that day turned out so so.  Although there were good things about it, I scraped it instead of sweating out to make it work.  Why not a fresh start?  Why torment myself and the world with a mediocre painting?

"Sunny Marina" is a bigger and more complicated painting than the destroyed painting.  I give a standing ovation to the artists who can paint good boat paintings on location.  Boats have got to be the hardest subject to paint--as hard as portraits. Even with the optimal studio painting conditions, it was taxing to paint the boats all stacked together, like sardines in a can!  By the way, I made one important change from the reference photo.  Can you tell what it is?

"Day at the Dock" (oil on linen; 8" x 10") sold

sold

Water is hard to paint.  Winds, currents, and clouds keep changing the shapes of reflections.  As I have been watching my self-confidence erode lately--no sales in the two group shows in which I participated and rejections in the Art League shows month after month although I have worked so hard all summer--it was perhaps unwise to paint water.  But I did anyway because I am always drawn to the fluidity of water.  Besides, I am an Aquarius.

I struggled through the first attempt.  My mentor and teacher, Sara Linda Poly, who was there busily helping other students during a workshop in Easton, MD, basically left me alone to figure things out on my own.  I tried the second time--the same scene zoomed in on a slightly larger canvas.  Colors got more intense, shapes were simplified, and water reflections less belabored.  There is something to be said for persistence and painting the same subject twice.  I am going to keep painting water.