Monday, July 9, 2012


Hairbrush, 2012, 16"x18", oil on linen

Another one for the autumn show at Green Hill Center.

Tuesday, July 3, 2012

A Couple More

Guild's Field, 6"x8", 1995

Spike's Field, 6"x8", 1995

Some Old Work

These were scanned from my old slide portfolio.  Landscapes from Maine, painted after I had moved to Beaufort and was missing Castine.  They have all been sold, so it's nice to be able to take a look at them again.  They are all oil on paper, a very heavy, handmade rough watercolor paper from India.

British Canal, 9"x 12", 1998

Hatch's Cove, 6"x8", 1996

Witherle Woods, 23"x30", 1998

Acadia Quarry, 25"x23", 1995

Tuesday, June 26, 2012

“Everything that deceives may be said to enchant.”

So said Plato.

Woman with a Pitcher (Homage to Vermeer)

Here is the finished painting.  It's 16" x 18", oil on linen.

Bits and pieces:

Inspired by Vermeer's Young Woman with a Water Pitcher, which is at the Metropolitan Museum in New York City.

The map on the back wall is "A New Map of the Country of Carolina," from 1682 by Joel Gascoyne, oddly oriented with north toward the right.  I've modified it just a little (aside from general abstraction and, um, artistic license) so that both Charleston and Cape Lookout show on the corner I've depicted.  With a couple of tiny dots to identify my Carolina places.

The pitcher was made by Brad Tucker, whose work I love and who Chris used to know back in the day at Cedar Creek.

Much gratitude to beautiful Lindsay.

Saturday, April 28, 2012

Study for Woman with a Pitcher

I continue to be influenced by--indebted to, overwhelmed by--Vermeer.  This is a charcoal study (with a bit of heightening in chalk) for one of the paintings I'm working on for the Home Work show at Green Hill in September; it's on tan Canson paper and about 12" x 15", cropped a little from the original 16" x 18", which the painting is.  It was exciting (not a word I use much for my own artwork) to use charcoal again--it had been a long time.  All the recent drawings have been pencil, and that certainly influenced how I used charcoal for this:  more detail, more stumping, harder pencils.  Not the wild vine of figure class!