Peter Coes, “Back for the Summer”, acrylic on panel, 32 x 29 inches
The inspiration for the painting “Back for the Summer” came from the neighborhood we first lived in after moving to the Cape. There were several seasonal houses close by. I enjoyed the rituals these houses went through during the year. In the fall families would close up, draining the pipes, covering or bringing in furniture and shutting the windows. In spring the families would come and open up the house. This painting is of that happy time when families were back for the summer.
– Peter Coes
Sam Barber, “Still Life by Window, Hyannisport”, oil on canvas, 30.5 x 26.5 inches
The inspiration for this painting came from the turquoise studio, one of Sam’s favorite rooms, in his Hyannisport home. Facing south and always infused with sunlight, the happy array of colors in the window took on a pure luminosity.
Susan O’Brien McLean, “Sailing in the Bay”, oil on canvas, 36 x 46 inches
-Susan O’Brien McLean
When she lived in England, Susan O’Brien McLean painted cricket matches, English country gardens and picnics by quiet streams. Since living in Osterville, her subjects are children playing by the sea and landscapes depicting the beauty of Cape Cod. She also likes to paint still lifes and portraits.
You can read more about McLean in Cape Cod Art magazine. She was one of the artist featured in this years annual publication.
Jill Bates, “Water Music”, oil on birch panel, 16 x 20 inches unframed, $1,000
Jill Bates –
I grew up on the water. It has been my entertainment and my muse. We are, each of us, composed of water, For me it is a living thing full of living things. It has rhythm and strength. Water does not resist. Water flows. When you plunge your hand into it, all you feel is a caress. Water is not a solid wall, it will not stop you. But water always goes where it wants to go, and nothing in the end can stand against it. Water is patient. It teaches…if you can’t go through an obstacle go around it. Water does.
Kenneth M. Evans, DAYBREAK, oil on canvas, 18×24 inches (24 x 23 framed), $2,800
Work of the Week
In “Daybreak” early morning walkers enjoy the view at that magical moment when night becomes day. A local Cape Cod beach scene captured at the point of maximum contrast of color, light and dark. Ken Evans, the artist, has a bank of memorized images from which to create and paint when back in the studio. He had just spent a few days on the Hyannis Port, Sandwich and Scargo beachfronts watching what happens as the dark of night fades and the brilliance of day begins. One morning gave him an image and a setting for his Railroad Wharf painting, a rather historically based piece shown at his recent one person Cape Cod Maritime Museum show. Another morning there was no sunrise at all, and it remained dark grey until after 9am. Ahh, but on the next day a scene like “Daybreak” happened and others came out on the beach to enjoy it as well. “I immediately knew it was a painting I wanted to do,”says Ken.
Ken has been painting most of his life, starting in Greenwich Village in the 1960s and progressing through many genres until becoming a professional gallery artist over 20 years ago. By that time he felt most comfortable with realism. It would seem from most of the changes he has gone through, from each something has tended to stay with him. He now says, “For many years I do not paint in any one recognized genre, style or theory.” I use them all. Why not? They exist and are only ways of expressing oneself with producing an image. For instance, he uses paint height and surface to create light and distance effects not possible with a flat surface. Palette knife and abstraction are often used in water and sky areas.” Some are old methods not used much in a while, yet some are still considered very modern, as is his use of Rothko’s Color Field concepts in many of his backgrounds.
Creativity has been a constant passion throughout his life. As he have always lived on the coast and sailed a great deal early on, he often has a strong emotional response not only to the beauty of our coastal seas and lands, but he also has developed a deeper understanding of how these sustain us and are necessary to our daily lives. As he paints he finds these coastal areas particularly magnificent and inspirational. As of late about half of his work would be seascape and the other half marine subjects.
His work has been written of and advertised in all the major art magazines from Fine Art Connoisseur to American Art Review, and his work has sold nationally and internationally.
Carole Chisholm Garvey, FOGGY MORNING, pastel on paper, 13.25 x 14.25 inches (22 x 23 framed), $3,000
Work of the Week
Carole Garvey can’t recall the location – though she’s sure it was on the Cape. What she remembers is the feeling of being caught up in “the softness and the glow,” she says. “It was early morning – I remember the sun coming up. It was fall, but it was warm and the colors were turning. The colors were all very warm. It was one of those foggy mornings that burns off quickly.”
It was also one of those times when – surprised by beauty – she didn’t have a sketchbook or camera. But her vivid memory of the experience served her well as she decided on her palette and composition. “I find some of my best paintings are those that hang in the back of my mind,” Garvey says. “The memory just sits there and gets better all the time. It’s like having a file in the back of your head: The day comes when you need it, and you’ve been thinking about it so long the painting is almost done.”
At the beginning of her career, Garvey worked in the art departments of two Boston printing houses, doing illustration and graphic design. But after marrying and starting a family, she decided to begin painting in earnest. Another artist gave her some advice that helped free her from the precision of commercial art. “Don’t tell the whole story and give all the details, because you can’t compete with the viewer’s imagination,” he said. “You have to stop so the viewer can complete the picture.”
In “Foggy Morning,” a halo of sunlight edges the trees. A hint of the sun’s reflection indicates a stretch of placid water. Although suffused in mist, the actual landscape of trees and low-lying bushes seems to lie, tantalizingly, just beyond the veil. Garvey is now a master of keeping things simple. “You begin to learn what to leave out,” she says.