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"Summer Morning Shadows & Low Tide at Heceta Head Light"
Oil on Panelli Telati Linen Panel
with additional Coat of Rublev Lead Ground
6" x 8"
Friday afternoon rolled around after a couple of very bland days on the coast and it was time to attend the Artists Preview of the Coos Art Museum Annual Maritime Show. It is always enjoyable and what with seeing and chatting with friends and acquaintances, I’m always hard pressed to make it around to see the actual paintings themselves. Several of the artists have made it to Britain more recently than I have been able to do, and it was nice to recognize familiar places in their paintings. After all too brief a time we repaired across the road to the Mexican restaurant, where I searched the menu for the delicious dish I had discovered the year before, and was determined to have again should I find it; after perusing the novel-sized menu for awhile I was pretty sure I found it and ordered the Shrimp Monterey, I believe it was called. It is a half dozen shrimp wrapped in bacon presented on a bed of rice, with refried beans on the side, and the usual trimmings to be found in such salubrious establishments. It lived up to me recollections.
The next day was the official private view and between this viewing and that of the night before I managed to see everything. I was pleased to see that mine looked good on the wall … what you have to remember is that most of my career I have been a painter in Watercolour and I have only seen a very few of my Oil Paintings in an exhibition setting. Even with my familiarity with Watercolour I am always surprised how those look once they are matted, and again once they are under glass and in their frames, and finally when they are up on the wall; the same happens with Oils, I see, and the good thing about the Oils is that I don’t have to go through the nerve-wracking exercise of glass cleaning. Anyone who assembled a Watercolour or a print under glass will know what I mean. I mean, how many times have I cleaned he glass; placed the matted Watercolour on the glass; turned it all over; placed the frame on to it and turned it over; shoved a few pins around the edge; turned it back over to inspect it to make sure that no flecks of dust or stray hairs have shot under the glass before you push in the rest of the pins and taped the back, only to find some nefarious desperadoes of the dusty persuasion have insinuated themselves under the glass, no doubt laughing all the way? How often?!! Let’s just say that I’m enjoying framing Oils. After a time looking at the works and more chatting with and meeting people, we all sat down to the private view banquet, which is free to us artists, and being a port town the provided fare was seafood heavy, and so delicious.
After the banquet I drove up the coast to my clearing in the old growth forest near Heceta Head Light that I know about, and camped for the next few nights and painted. I know, I know … I’ve painted the above view before (here), but it is the classic Oregon lighthouse view, and I can’t resist it if I spend any time painting hereabouts. Of course this is only the second time that this view has appeared in this journal, but it is the sixth time I have set down this view in paint, both in Watercolour & Oil. This time it is a Summer Morning. I no doubt will paint it again.
Imprimatura: Venetian Red.
Block-in: French Ultramarine.
The Pigments used were: Rublev Blue Ridge Yellow Ochre, Italian Burnt Sienna, with Winsor & Newton Cerulean, Cobalt & French Ultramarine Blues, Venetian Red, and Cremnitz & Titanium Whites.