A view from the studio

Yes, most definitely it’s a view from the studio.  It’s just not my studio, as it happens, but that of a wonderful B.C. artist  whose home and studio I visited on a daytrip tour to the Sunshine Coast. 

The view from my own studio is perhaps not as tourist-worthy, but that’s just as well.  About 30 steps from my studio rooms, through my laundry and furnace room, through the open door – and there’s my piece of domestic heaven, for which I’m so grateful.

 

Officially back from Summer Camp, I’m settling in and mulling general ideas for the new season’s line-up.  I suspect that all artists must have a huge attachment to their own workspace, and I’ve considered doing a few pieces on artists’ studios.  Consider this studio painted by the artist himself, Kalman Deri, of early 20^th century Hungary.

 

A little tidier, but still resonant, here’s the posthumously reconstructed studio of Renoir. 

 

Thinking about my reconnection with home base, I decided to start with a painting to be titled “Artist in Residence.”  Incidentally, I learned from an artist on one of the daytrip art tours that a “residency” is no longer necessarily an honoured, subsidized post.  These days, the prize of a dedicated studio in attractive surroundings is something a competition winner might have to pay for!

 

I started with some quick studies.  This one featured my old studio (c. 2010) for which I still have fond memories.

 

But then I decided to sit on my little front porch, part of my own “residency” set-up, where I can sometimes enjoy a very early morning coffee and a reverie.  So why not centre my residency here?

 

After trying things out with many small drawings, I saw that this could easily get too busy.  Rather than showing off my slippers, I zoomed in for a comparative close-up, starting with a preliminary light teal-grey layer.

 

Something unexpected was already happening around my ear.  Yes, I have big ears, but the problem was that the paint just wasn’t handling things in its usual way.

 

That splotch on the ear couldn’t be corrected.  The more I painted over, the worse things got.  And then there were distinct unpredictable spots, as if bubbles had burst.

 

I wrestled with whether to forget the whole thing, but this was a decent quality canvas.  What could I cover up when I added my hair?

 

Not much!  But it was at this point, that I had a huge revelation:--  The cause of the unpredictable paint behaviour was in my first layer.  I’d thought to use up some aging paint, a professional quality Iridescent White that made a nice optical mix with other colours – but obviously didn’t make a compatible surface blend. 

 

What’s more, I’d been so fixated on the blobs and smears that I hadn’t paid attention to placing the features – and that left eye was not only a miserable blob, but a miserable blob in the wrong place.

 

As time passed and the month-end came into sight, I made another decision.  I wouldn’t scrap this yet, but would play with a stick-on eye and aim for a better placement.

 

And the outcome is as good as it’s gonna get in this incarnation.  (“Artist in Residence,” copyright 2026)

You’ll see this canvas again some day, but it will be collaged and textured with stuff that will stick.  Ooh – maybe Summer Camp 2027?  Keep your eye on this space.

 

And savour your own places for reverie, whether “in residence” or beyond.  (Thank you for being there, VanDusen Garden).

 

Happy Campers, time to head for home!

 

I’ve always loved this vintage photo titled “Artists of Mount Kisco,” which persistently pops up in histories of early 20^th-century artists and the appealing early tourist destinations in New York State’s Adirondack Mountains. But guess what!  Mount Kisco isn’t in the Adirondacks – it’s farther south, in fact only about 20 miles from my birthplace in a suburb of New York City.  All the better!

 

The artist with the most name recognition in this group is Alfred Stieglitz – second from the right with ruffled hair and glasses.  He was a giant in establishing early 20^th-century photography as an art form and, oh by the way, he was the husband of Georgia O’Keeffe.

 

In my years of familiarity with this photo, I’d imagined these folks staying in the modest summer boarding houses for which the Adirondacks were famous.  Diving deeper recently, I found that Stieglitz, for one, stayed in the summer place (palace?) of Eugene Meyer, owner of The Washington Post and, with his wife Agnes, major philanthropists.   Here it is – Seven Springs Farm. 

 

As I stowed away Summer Camp lists and supplies, I thought I’d commemorate my own selection of artists by placing them in the Mt. Kisco spotlight – dressed in the wardrobe of their choosing.  Let’s start up that trail!

 

I’d planned to do this without a map, which might not have been a good idea.

Here’s the final.

 

And just so you can match them to their featured posts in Summer Camp 2026, here’s the big reveal -- labels with identifiers.  I’ll bet Seurat had to fight for that camo jacket.  And isn’t “Easel” the best possible name for the dog?

 

It’s a funny thing about taking a break like this.   You get to know people in a particular context, away from the everyday -- and then it really is time to move on -- but always to something new and promising.

“I think that to one in sympathy with nature, 

 each season, in turn, seems the loveliest.”

― Mark Twain

 

Colour me -- confounded

 

The seasons' change is in the air.  Autumn is almost here, and Summer Camp 2026 is nearing its conclusion.  In this year’s adventures, some of the artists I’ve sought to emulate – or in any case, to be inspired by – are from other eras, other countries.  To the forefront now, at this late date, comes a contemporary Vancouver artist who is greatly admired particularly for his landscape paintings.

 

A practicing medical specialist until his 2017 retirement, he is almost a lifetime artist.  This account from his medical peers tells part of the story that he’s still writing today with great energy and expertise.  I’ve admired his work for years in reproductions and had the luck to meet him on the last day of his Fall 2025 exhibit.  His warm smile suggests the kind of physician he must have been.  He genially spoke with his visitors and generously let me have one each of his rack cards.

 

Meanwhile, as August came into view, I’d been looking at years of photos from my cherished friend L, taken at her beautiful home on Galiano Island.  The sunsets were always spectacular – did I dare give this one a try, even as the colours in nature are overpowering??

 

Looking particularly for examples of sky in DH’s paintings, I found this one from his earlier series on Vancouver’s harbour.

 

His process is so intriguing – are the lines on a tree trunk, for example, painted after and over the trunk’s colour, or is their colour painted first, then painted with the trunk's colour, and then the lines “carved out” from the overlay?  

 

This is no less clear to me now, after finding this description just this morning.  Scroll down about 10 short paragraphs, below the painting titled, “View from the Spit…” and try to match the description to the outcome.

 

Nevertheless, in mid-month, I plunged in:

 

As I continued, the puzzles became more confounding:-- the sequence for the colour application; the lightness or darkness of reflections on the water; the particular quality of yellow.  An interim stage:

 

Big sigh.  One of the givens of colour mixing is that white not only lightens other colours but might at the same time dull them.  Sometimes a touch of yellow is preferred instead…but how could you lighten yellow with yellow?

 

Well – here’s the finale. “Memories of Galiano – Summer Camp series,” copyright 2026.

 

No, I didn’t get the colours right – and its biggest flaw is that I just could not make the “branches” of the centre tree thin enough.  (Hmmm….I feel an urge to repaint coming on).

 

However, another happy surprise from this morning’s online search, is this:

 

Another exhibit this October, and it’s in my calendar now!!

 

Now, is it time to fold the tents on Summer Camp?  ….not quite.

 

Time for spooky tales around the campfire?

As Summer Camp wends onward, I’d planned for a landscape focussed on an old house.  The abandoned tavern shown here is from a regional vintage photo site in New York state  -- not fair game for my purposes.  I hoped to locate another old Vancouver house like the one that enchanted me last year. 

 

My time for exploring has been limited lately as Serious Stuff – a research project I mistakenly volunteered for -- impinges on my summertime fun.  I used Google maps to explore some possible neighbourhoods, to no avail.  I was much more successful in finding a painting I might emulate, titled “Deserted House.”

 

It’s by 20^th century Canadian artist Prudence Heward who is top of my list right now for preferred painting partners.

 

How could I have forgotten her after seeing a blockbuster show at the Vancouver Art Gallery in 2023?  Here, she has painted another similarly “lost” artist, printmaker Edna B. Hopkins, an American of roughly the same period. 

 

I would love to have painted this!!  And once found, it quickly led me to abandon the abandoned house motif and any thought of spooky tales.  Instead, I decided to paint two “sisters in art” – Prudence herself and the close friend of a coffee buddy I’ve become acquainted with in the past year.  This young woman (“young” equals 50-ish, right?) wears different hats so stylishly and, just incidentally, has started taking watercolour lessons.

 

Here’s the first lay-in:

 

A midway point:

 

And the final version, “Sisters” – Summer Camp Series, copyright 2026.

 

I’ve left the equivocal facial expressions just as you see them.  Is Prudence viewing a younger version of her friend group, wondering about how future generations might express themselves?

 

And here’s more food for thought:  I’d hoped to suggest there was still time to grab a spot in another summertime Commedia program.  Then I had the wisdom (!) for once to check out the meaning of its title, psicodramma.  I should have known! – psychodrama – and my extracurricular research activities of the summer have already brought too much of that!!

 

 

 

Unexpected origin stories

 

Summer Camp ought to celebrate surprises, pivots and discoveries.  The previous post was inspired by the ravine at the local (and nationally famous) botanical garden where I volunteer.

 

Aiming to work on a typical support like paper or board, I'd made an unexpected pivot to splashing colour onto refillable palette paper.

 

Then, like an exclamation point, the origin story of that ravine became clear when I did my volunteer shift at the garden a few days ago.  I knew this 55-acre garden had once been a golf course and, flipping randomly through some old notebooks, I happened on the title photo above – the ravine in its first stages of creation!

 

Well – back to my Summer Camp agenda to play around with the landscape paintings of known artists.  I happened upon this wonderful pastel painting, “The Zaterre – Harmony in Blue and Brown”.

 

It’s by 19^th c. American artist James McNeil Whistler.  (By the way, take a close look at that self-portrait, and if you can figure out what his right hand is doing on the left side of his body, please let me know).

 

And “The Zaterre” – what’s that?  It’s downright fascinating.  I'd love to join the throng and go there.  But to the task at hand, I just needed a local landscape story waiting to be told.   Except:  There’s no way I’d be allowed near the waterfront shipping hub to see a sweep of foreshore and then the working harbour.

 

Putting that aside, I decided I’d focus on Whistler himself, based on this photo:

 

At first, I thought I’d try for a treatment a la Hashim Akib, a contemporary artist whose portraits fascinate me.

 

But then I realized I was working at too small a scale for his Hashim-mashups.

 

Okay.  Forget that.  I’d meanwhile become fascinated with the small table that Whistler leans on – and realized, too, that I needed something to fill the space on the right side of the picture.  Enter Whistler’s own “Peacock Room.”

 

Oh, my.  How did I ever miss this tale of high-stakes art scandal?  

 

In any case, I wasn’t foolhardy enough to put the full extravaganza into my background.  But how about a part of it?  Here’s the finale – “Harmony in Gold, Burgundy and Blue,” (copyright 2026).

 

Have we pivoted enough to lose track of the origin story?  There really should be no surprise that in a crunch, I’ll revert to my favourite art elements – pattern and rich colour.   So why not calm down, breathe deeply – and consider if the current sheet of refillable palette paper has the makings of a future painting.