Alice Kent Stoddard at the Monhegan Museum

View from the lighthouse tower.

Looking back over the last few months' posts, I realized I hadn't blogged about my annual trip to Monhegan with the Maine Landscape Guild. Every year for the past four years, my artist buddies and I have carved out time for a week-long stay on this very special island nine miles off the coast of Maine. Last fall, our stay coincided with "Lighthouse Day," a fundraising event for the recently restored Monhegan Lighthouse. We got a tour of the buildings and we were able to climb up the iron staircase to the top of the lighthouse tower--very exciting for me because not only do I love lighthouses and towers, but also I love to paint views looking down on the landscape from an elevated viewpoint. Needless to say, I took a lot of photos from the tower looking out over the village and neighboring island of Manana.

After the tour, I was walking through the Keeper's house, also known as the Monhegan Maritime Museum, and I noticed a wonderful portrait by Alice Kent Stoddard. I had seen some of Stoddard's work in Philadelphia, in the Drexel Collection, and this portrait of a former lighthouse keeper was among the best I had ever seen of her work! I asked the curator about it, and she said, "Oh, there are some even better ones in the vaults! Would you like to see them?" Of course I said yes. She took me to the "vault," which on the outside looks like just another white clapboard building in the lighthouse complex. But inside was rack after rack of incredible paintings, including a staggering collection of paintings by Alice Kent Stoddard! I thought she painted men especially well-and here are three of my favorites:

Portrait of the man who built the Island Inn, by Alice Kent Stoddard
Portrait of landscape artist Andrew Winter by Stoddard
Another Stoddard portrait

I highly recommend the Monhegan Museum to anyone interested in seeing a star-studded collection of work by well-known artists who painted in Maine. Both the keeper's house and assistant keeper's house have been made into exhibition spaces. And if you happen to get there on Lighthouse Day, you'll get to climb the tower and get a 360 degree view of this artists' island.

Maine Mystery Round-Up!

I recently stumbled across a trio of mystery series, all set in Maine. What could be cozier on a winter's evening than a cup of tea and mystery novel set in one of my favorite states? All three writers are about as different as they could be. Let me start with my favorite of the three:
The Gray Whale Inn series by Karen MacInerney

This enjoyable series is set on Cranberry Island, one of the places on my Maine bucket list. These are definitely "cozies", mysteries that are not into scariness or grisly details (think Miss Marple.) Innkeeper Natalie Barnes juggles guests, cooking, island community life and the occasional murder with great aplomb and verve. While not contenders for the Nobel prize for literature these entertaining books are nonetheless well-written, with good plots, charming characters and great descriptions of life on a small island. There are even terrific looking recipes at the back of each book: I am a fan!

The Home Repair is Homicide books by Sarah Graves are set in Eastport, Maine. I stumbled into this lengthy series at book 11, and had to backtrack a bit, although it was not hard to slip into the series midway. Graves is an excellent writer, with a real talent for noticing local color and writing description. I read about five of these books before my enthusiasm began flagging, due in part to the high body count and a little too much violence. That's a purely personal taste: I can take some scary, but a little brutality goes a long way in my opinion. I will start up again with these books again eventually, and if you have a thicker skin than I do (as is likely) I heartily recommend them! An unique twist is that instead of recipes, home repair tips are included.

Well-known seafaring life writer Linda Greenlaw has turned her hand to fiction, with this fairly recent series of mysteries set way up near the Canadian border. I am a big fan of Greenlaw's nonfiction and was excited to get my hands on Slipknot. However, I am sorry to say I found it disappointing. Greenlaw's clipped straightforward style which works beautifully when she is writing about real life events does not translate well to fiction. She has a hard time with both description and characterisation and also, sequencing. Several times I had to re-read passages to understand what was happening. And the plot, once revealed, was extremely shaky. I forced myself to keep reading to the unsatisfying conclusion of this book, and I have not yet run out and gotten the other one in the series. Which might be miles better...so I have to admit this is a somewhat unfair review from reading just one book. Let me know if you've read them and what you think? I admire Greenlaw's other work very much, so would be happy to have another opinion on her fiction!

An enjoyable note to all three series is that each features a seasoned, strong, sassy woman as the main character! I like this new tide of middle-aged heroines.

June paintings in August

Noon Islands, 9 x 12 oil on linen mounted to board, 2010 (Somesville, ME)

Okay okay, I am late. But two recent occurrences inspired me to get on with it: a flurry of comments on some of my old Maine paintings on Facebook, and Alex posting her recent Maine paintings both here and on Facebook. Today was overcast but bright, perfect for shooting art, so I finally took the shots and am now posting the pix of my most recent Maine sketches. These are from June when Alex and I went up to Mount Desert Island and stayed with Diana in Somesville (see two posts back) We had a short but highly productive week of plein air painting (four nights/five days?) These are some I did on that trip, and are AS IS. I did no more work on them in the studio. In fact, I can't bear to do any later retouch at all these days...it all happens on site and in the moment or not at all.



Houses by the Sea, 12 x 16, oil on linen mounted to board, 2010 (Stonington, ME)



Porcupine Islands, 12 x 18, oil on linen mounted to board, 2010 (from Cadillac Mountain, Acadia National Park, ME)



Alex Tyng Painting at Beaver Pond, oil on linen, 12 x 9, 2010 (Acadia National Park, ME)
Funny thing is that I also did a painting of Beaver Pond. It was fun to do but it ended as a confused mess. Alex wanted to keep going with her piece for another 20 minutes. I had a palette full of fresh paint and extra canvas so I speed painted this baby, more as a way of passing the time than with any serious intention. Wouldn't you know, this one was the keeper!


Reflecting Pond, oil on canvas, 12 x 16, 2010 (Somesville, ME)
Yes, that's the library in Somesville. It was the last painting of the last day!

Business Trip... to Maine!

Alex and I (Nancy Bea here) made a quick visit up to Mount Desert Island to stay with Diana while taking care of a little gallery business (Alex and I each have two galleries in Maine that exhibit our work, one is the same) and of course, PAINTING! Which is our business, for real. We stopped in Freeport for coffee and a little L.L.Bean-ing. Notice my business-like attache case (really, an archery set!)

Diana and her sweet dog, Tucker, welcomed us warmly!



Our first day of painting was a total pleasure, despite my easel becoming marooned!



We painted in Stonington one day and did some business with our mutual gallery there, gWatson. Here is Ron Watson talking with Alex.



Lupines were everywhere! It's a very floral time for coastal Maine.



Painting on the side of Cadillac Mountain one early evening was truly a highlight of the trip! Diana's gorgeous hair was flaming:



We worked hard all the hours we could. I came home with eight pieces or "sketches". Here is Alex with her Cadillac piece:



Happy sigh! I wish the rest of the MLG had been there with us. We'll do that soon, I hope. Farewell till we meet again, in Maine!

Week-long Workshop

I wanted to share some photos from my workshop on Mount Desert Island, Maine (July 27-31).

This summer in Maine has been WET! It has rained almost continuously since June-- a worrisome sign of climatic change. The ponds and lakes of Mount Desert were full to the brim, so full that the water level is just under the trees, and hardly a rock is visible along the shore from a distance.

Apart from being concerned about the implications of this weather, I had more immediate concerns that the workshop week would be one long rainstorm--but luckily there was enough sun to give some variety to the weather. One completely sunny day allowed us to paint in two prime locations, Ocean Drive and Cadillac Mountain. On cloudy, foggy, damp days we painted at the Beaver Pond across from the north end of Eagle Lake, and Somes Landing. We painted at many of the key locations on MDI.The talented and dedicated participants worked hard and we all had a lot of fun.

I'm so glad I was able to work with my fellow MLG-er, painting partner, and long-time friend Diana Cobb Ansley in planning the workshop.We stayed in her historic home in Somesville, and she provided hospitality and made sure things ran smoothly. Every day for lunch she ordered delicious gourmet sandwiches from Mother's Kitchen which we brought along for picnics on location. She also knew the best restaurants on MDI for dinner. By the time I got home, I actually felt that I had had my fill of popovers!

We're looking forward to doing this again next year. There are so many themes for plein air landscape workshop, and so many more painting locations on MDI.

Consider the Lobster!

Lobster with Brioche, oil on canvas, 18 x 24 inches, 2009

Alex and I just had a wonderful road trip to our favorite state (that's Maine of course!) dropping work off at three different galleries. It was a long drive but it was lots of fun! The first destination was Portland, where I dropped several pieces off at Susan Maasch Fine Art. She has a lovely new gallery space in the perfect location: right across the street from a coffee shop and within one block of the Portland Art Museum! We had a fun visit with Susan and her gallery assistant and then Alex and I explored Portland a little: what a fascinating city!
The next day we made it up to Stonington, where we were both bringing work to gWatson Gallery. Alex shows there regularly, and I had just been invited to participate in a summer show "Consider the Lobster". I absolutely had a blast painting this lobster: can you tell? (I blogged about it here, if you want the back story on how I rented the lobster in the painting!) I enjoyed meeting Ron Watson who could not have given us a warmer welcome. His gallery is amazing: I feel honored to be included. This was my first time in Stonington and even through the mist of a mizzly day it was utterly gorgeous. Can't wait to get back there and paint!
We headed back down the coast after that, and our last gallery stop was in Rockland, where Alex was dropping off work at Dowling Walsh Gallery (see previous post for show details!) It's a beautiful gallery space with lots of art stars on the walls: including our Alex! In fact, I was chatting to someone when my eye was caught by a gorgeous painting on a far wall in one of the main galleries and I disregarded the rest of the show and went right up to it. I was probably about 5 feet away when I suddenly realized it was one of Alex's paintings: way to go girlfriend!
If you are in Stonington soon I hope you will stop in and see

Consider the Lobster
Consider the Lobster opens on Friday, June 26.
A Celebration of artists and their lobster images will take place on Friday, July 3 from 4 to 7 PM.
gWatson Gallery
68 Main Street
Stonington, Maine 04681
207.367.2900
http://www.gwatsongallery.com/

PLEIN AIR PAINTING WORKSHOP on Mount Desert Island, Maine

PLEIN AIR PAINTING WITH ALEXANDRA TYNG
MOUNT DESERT, MAINE July 26-August 1, 2009

Thomas Cole and Frederic Church first popularized Mount Desert Island in the mid- 1800s. Their works inspired families from New York and Philadelphia to make the journey by steamer to "rusticate" and enjoy the untouched beauty of Mount Desert.

Artists will be painting outside in a group for approximately 3-5 hours a day. Sites will vary from the spectacular summit of Cadillac Mountain to the rugged shores and quiet lakes and ponds of Acadia National Park. The group will focus on plein-air painting techniques and strategies. Participants will stay in the Abraham Somes III house built in 1800. Daily critiques, individual instruction, and demonstrations will be provided. Alexandra Tyng and Diana Ansley will lead the group.

Tuition is $500.
Lodging and lunch is $575.

For further information on the lodging, travel arrangements, and daily schedule, or to enroll, contact organizer Diana Ansley at DianaAnsley@aol.com

Toast to Lobsters

This summer (2009) I'll be participating in a themed group show at the gWatson Gallery entitled "Consider the Lobster." Anything goes as long as the work relates to lobsters. Since the artists at gWatson are a varied and accomplished bunch, the results should be interesting! The show will be up in July, but I will have more specific information as the summer draws near.

Here's my entry, Toast to Lobsters, oil on linen, 22" x 30."

The gWatson Gallery is located on 68 Main Street, Stonington, Maine. Stonington is a small town at the very tip of Deer Isle, Home to many artists and art galleries.

Opening night at Fischbach Gallery

Eliza Auth with star of the evening Alexandra Tyng: Lawrence DiCarlo, Fischbach gallery director, in the background.



Diana Ansley and Nancy Bea Miller share a light-hearted moment.



Peter Trippi, editor of Fine Art Connoisseur magazine, Brad Marshall, another Fischbach artist, and Nancy Bea Miller, in animated conversation.



Eliza Auth, Carla Tudor, Diana Ansley and Nancy Bea Miller.


The MLG turned out in almost full force (minus Mary Walsh, who had a previous commitment) at my opening last Thursday. Thanks to them, and all the other friends, fellow artists, and others who came in to see the work, there was a great turnout. I also want to thank gallery owner/director Larry DiCarlo and the gallery staff who created a festive atmosphere. It is a wonderful space and the work was hung beautifully.

I'm posting some photos which, I think, speak more eloquently than words.

Currently on Exhibit

Four Seasons
Eliza and I are both in this group show
Jan 7-31, 2009
Sherry French Gallery
601 West 26th street
New York City, NY 10001

For more info on the show click here.

This is another of my plein air pieces from September's stay on Monhegan Island. While there we got lashed with the tail end of Hurricane Hannah. After one gray stormy day the weather started clearing towards sundown. There was an eerie, exhausted calm: dark sky, rosy sunset and the water of the harbor looked like glass. I painted as quickly as I could before the light went.

Monhegan Harbor study, oil on canvas laid to board, 8 x 10 inches, 2009

Group Shot of the Guild

The Maine Landscape Guild
Taken last week on Monhegan Island! We are standing on Fish Beach and the small island of Manana is behind us across the harbor. From left to right you see Carla Tudor, Nancy Bea Miller, Mary Walsh, Alexandra Tyng, Eliza Auth and Diana Ansley.

What a week it was!

Monhegan Trip 2008

Thanks to all the MLGuilders for a wicked good week!  Hope you enjoy these bits of our week together.

Mary and Eliza enjoying popovers on a rainy day-

Manana from our window-

Carla drawing with the birds-

Eliza bewitched by the view out our door.

Alex inspiring us with her songs-

We took pictures from all angles-

And from every window-

No wonder with the stunning sunsets-

What better way to end the summer! 

MAINLY MAINE SHOW

Both Eliza and I (Nancy Bea) were invited to participate in this exhibit.
Mainly Maine
September 3rd thru 27th, 2008
Sherry French Gallery
601 West 26th Street
New York, NY 10001-1101
212-647-8867
http://www.sherryfrenchgallery.com

Click here for more info on this group show. I have two pieces in it, both set on Monhegan Island, Maine. Unfortunately neither Eliza or I will be at the reception for the show as right then we will actually be on Monhegan, painting, with the rest of the Maine Landscape Guild. Can't wait!

Dead Tree, Burnt Head, oil on canvas laid to board, 8 x 10 inches

Island Life and Still-Life

I can hardly believe it, but my show is up! Still-life paintings and Maine landscapes. Please come this Saturday to the reception if you are in New York.

Still Moments
Representational Still Life and Landscape Paintings by
Nancy Bea Miller
May 28th – June 21st, 2008
Opening Reception for the artist:
Saturday, June 7th from 1 to 4 pm
at
SHERRY FRENCH GALLERY, INC.
601 WEST 26TH STREET
NEW YORK, NY 10001-1101
212-647-8867 fax 212-647-8899
sherryfrench@earthlink.net
www.sherryfrenchgallery.com

Monhegan Museum, oil on canvas, 24 x 20 inches, 2008

...And a Rear View!

Now that N.B. has posted her charming characterization of the artist on Horn Hill, I thought I'd post another view of her that I incorporated into a painting. I don't know what it is about her--whether it's her Western style hat or her red shoes or her stance--but she was an appealing subject. I also borrowed a photo from N.B. and painted myself into the view, though I consider myself to be ordinary in comparison.

I'm calling this Painting and Cocktails because everywhere you look on Monhegan there are artists standing in front of easels and people sitting and admiring the view while sipping cool drinks.

Another View

Horn Hill Again
This painting is on a painting board I bought at a funny little art supply shop on our way up the coast. Diana (or Alex?) needed some piece of equipment for their folding easel and so we stopped at this place those two knew about from former trips. In a tiny strip mall it was part hobby shop, part craft shop, part art supply shop. I guess diversification is sometimes the key to survival!

Anyway, browsing around while the others were researching their easel issues, I decided to give this art board a whirl (it is almost impossible for an artist to enter an art supply store and not buy anything...even if its just a new pencil!) The manufacturer was some major company, like Windsor Newton: a thin piece of masonite or hardboard with a smooth oil-primed surface. I thought if it worked out, its thin width and light-weight but durable qualities would be a plus for plein air work.

Turns out I hated it. I started painting on site, Horn Hill on Monhegan, but the board's slippery smoothness did nothing for me but cause grief and annoyance. The light changed and the artist whose back view I was painting started cleaning up so I gave up too, put it away and went on to other paintings. But when I got home from Maine, even though this was just a rough start, there was something about it. I looked through my photos and yes, I had taken one of the scene right before I started to paint. So...I went on with it in the studio. Swearing and sweating for the first few days till I'd built up enough "drag" with layers of paint. Some people like to slide their brush over a smooth surface, others prefer the drag of some textured surface (c'est moi!)

There was some strange tenacity to this painting, something that insisted on being born! Sometimes you just have to give in.

Painter on Horn Hill, oil on primed board, 12 x 16 inches

Monhegan twilght

That is a gorgeous painting, Eliza! I love the backlit garden plants against the graceful forms of the very tall spruces in the background. And the house nestles in there so perfectly. Can't wait to see more (from everyone).
Our trip to N.Y. was lots of fun. Thinking over Nancy Bea's reaction to Peter Poskas' paintings of Monhegan, and even her reaction to Mount Desert compared to Monhegan, I realized that the Maine experience is extremely dependent on the weather. If you don't have much time there, and your whole week, or two weeks, is marred by constant rain and fog, it totally affects your experience of the place. You might know in your rational mind that it must be beautiful when the sun is out, yet your memory of Maine will be dreary and wet and depressing. I have had guests who are amazed when the fog lifts and the can see the mountains and the colors, even though they have enjoyed their first few rainy days of vacation. The only way to really experience a place is to be there for longer periods of time, or in different seasons. Then you can tolerate and even enjoy fog for a while.

Another way of saying this is that we were incredibly fortunate to have perfect weather when we were on Monhegan, and the colors were brilliant and almost surreal. There was one evening when the sky was perfectly clear and brilliantly colored from red to orange to yellow, violet, and blue. There was one hardy soul who was actually trying to paint in the dusk. I don't know how he could see. The best I could do was to take lots of digital photos and interpret the colors from my mental notes. Here are two of my paintings of that evening.