Tango at Sunset – John LeCours’s Fall Favorite on Maine Art Hill

John LeCours | Tango at Sunset | Oil on Canvas | 16″ X 40″ | $2400

“This piece flowed out of me in a very mysterious way,” shares artist John LeCours about Tango at Sunset, his Fall Favorite. “It seemed to come directly out of my subconscious.”

This autumnal tree’s look resonates with the fall season but speaks to the viewer on several levels.

“Even though there is a loneliness to this piece, there is also a feeling of future hope and eternal life,” says LeCours. “Symbolizing the Tree of Life and an existential vibe that is inherent in this composition.”

To see all available work from John LeCours, click the link below.
To read more insights from John LeCours, click the link below.

Mother of Pearl – Ingunn Milla Joergensen’s Fall Favorite on Maine Art Hill

Mother of Pearl, Oil on Canvas with 18 Karat Gold Leaf, 36″ X 36″ $3700

“Fall has always been my favorite time of year,” shares artist Ingunn Milla Joergensen. “I can allow myself to slow down after a busy spring and summer.”

For Joergensen, it is a time to reflect and think, to simplify and breathe.

“That is why Mother of Pearl is my favorite painting,” she says. “To me, it is rhythm, simplicity, calmness, and poetry. I love the soothing colors and subtle reflections.”

To see all available work from Ingunn Milla Joergensen, click the link below.
To read more insights from Ingunn Milla Joergensen, click the link below.

What Is Drawing? Part Eight – A partial repost from Vasari21 with Susan Bennett

FROM Vasari21…

“I’m surprised, too, that even though the concept of “drawing in space” has been around since Spanish sculptor Julio González articulated the idea in Cahiers d’Art in the 1920s and ‘30s, only one sculptor so far—Susan Bennett—has brought the practice up to the present. (I’m sure there are others out there, and I hope I hear from you because it’s a nifty way to extend the practice of using line to define space.)”

From Artist Susan Bennett…

The focus of my art making is primarily steel and stainless-steel sculpture. The technical aspects of welding became fluid while perfecting my craft as a pipe welder. Or to put it another way, my welds couldn’t leak under pressure. A few years later, mostly through happenstance, I was pursuing a fine arts degree as a nontraditional student—a woman in her forties. Early in this endeavor, a professor stated that life experience matters in the art-making process, and I would go back to this many, many times. In my studies, I was naturally curious about the history of direct metal sculpture. Now, as it must have been then, the idea of using this ubiquitous material in the creation of 3-D art is liberating. Welding steel, in part, has redefined the elements of modern sculpture. Drawing in space, using this mean material, is free from restraint, and is not unlike the automatic drawing process. Intuitively made, the implementation of the work evolves through an inclusive and integrated design approach. A blend of deliberation and spontaneity that is altogether pleasing.”

 

See the full article From Vasari21 by clicking here.

 

Artist Ryan Kohler – Introduction and Insights

Ryan Kohler is a young local artist who recently joined Maine Art Hill.  He has several pieces at The Gallery on Western Ave and has already sold. Check out his Artist Page to see all of his available work or come in for a visit. We are open at 10 am every day. 

As with all new artists, we love to take a few minutes to share a bit about them. It is important to us for our clients and visitor to have insight into an artist when you are viewing their work.

Insights from Artist Ryan Kohler

“I always say that I’ve been drawing and painting ever since I was old enough to hold a crayon.  Luckily, my parents and grandparents were always super encouraging about my interest in art.  They even let me paint right on my bedroom walls and ceilings,” shares Kohler.  “Growing up, I used to try and replicate my favorite album covers and t-shirts.  It taught me a lot about design and laid the groundwork for some pretty cool paintings later on.”

Kohler has a BA in Art with a concentration in drawing from the University of Maine at Augusta. Throughout his college years, many mediums were practiced but one continually came out ahead.

“While studying for my art degree, I was subjected to all sorts of torturous experimentations with various mediums,” Kohler jokes.  “I knew that whatever avenue I chose to pursue in art, drawing would still be a relevant skill, so I took just about every art class there was, sometimes unwillingly, but painting was always my favorite.”

If painting was his preferred outlet, acrylic was his first love. He grew up painting in acrylic and used it for most of his college work.

“Acrylic has its charms, but my favorite painters were always working in oils.  It wasn’t long before I taught myself to work in oils.  I consider myself pretty handy with both mediums now, but I’ve recently discovered a great way to combine them,” shares Kohler. 

The first layer or two of his current work is acrylic.  He works quickly and easily. It comes naturally.  Once the painting is in a “good place”,  he switches to oils and continues building texture, adding and removing loosely applied layers of color before finally defining focal points of the painting with crisp, graphic lines. The end result being something different and interesting.

When it comes to inspiration, Kohler is more of a classic.

“I actively seek inspiration.  I do not wait for a ‘divine visionary moment’ or anything like that.  Just plain old research,” says Kohler.  “I’m constantly seeking out new favorite artists, looking for new subjects to paint, or aimlessly driving and walking around hunting for what excites me.”

Lastly, we wanted to share a bit of insight as to how Kohler himself views art and how to process his own work.

“Everyone steps to a painting with their own approach, but initially, I like to view a painting as an abstract work first. I look at the composition, paint texture, general shapes and colors, and temperature first before inspecting the recognizable imagery,” explains Kohler. “I want the viewer to see my work as a precarious mix of careful observation and spontaneous mark-making. My painting seems to work best when I can find the most entertaining ratio of the two.”

However, it is this last piece of advice for anyone coming to see his work that may be the most beneficial.

“If it matches the couch, great.  It’s not that art isn’t allowed to match the furniture,” says Kohler. “However, f you’re that worried about it, get a new damn couch.  Either way, be sure the most important question is being asked.  ‘Does the painting bring you joy?’”

Wind Sculpture Photo Contest 2020

Maine Art Hill

Wind Sculpture Photo Contest!

There is still time to enter…

…deadline is October 21st!

Win a Wind Sculpture by Lyman Whitaker!

12 finalists will be chosen for inclusion in our 2021 Wind Sculpture Contest Calendar.

-Each finalist will receive a copy of the calendar, and be entered to win our Grand Prize, a Copper Mirinda II Wind Sculpture!

On October 28, 2020, the 12 finalists’ photos will be posted on our Facebook page, and our followers will vote for their favorite. The finalist whose photo receives the most organic “likes” as of 12 pm EST on Friday, November 27, 2020, will be this year’s winner!

How to Enter:

1) Take a photograph of your Wind Sculpture* (or grouping of Wind Sculptures) and send it to us via email.

ONE ENTRY PER PERSON, PLEASE.

2) The deadline to submit photos is noontime October 21.

3) Send submissions to abby.maineart@gmail.com. Please include your name, shipping address, and phone number in the body of your email.

PHOTO REQUIREMENTS:

Photos MUST be submitted via email in JPEG format.

Size: At Least 2MB

Quality: 300DPI

Horizontal Formatting Preferred

Winner is responsible for shipping outside the continental U.S. as well as duties and taxes for international shipping. By submitting, you are giving permission to Maine Art Hill and Whitaker Studio to use your photo and name for future marketing endeavors.

Mirinda II Copper Wind Sculpture by Lyman Whitaker
Maine Art Hill is open year-round.
If you have any questions about the contest, please call us at 207-967-2803 or email us at info@maine-art.com.

Hope on the Hill – The 3rd Annual Pink Show on Maine Art Hill

“The average risk of a woman in the United States developing breast cancer sometime in her life is 1 in 8,” shares artist Ellen Welch Granter. “Eights is a painting of eight knitting needles with which I have made far, far too many ‘chemo caps.’”

Granter is one of almost thirty artist from Maine Art Hill participating in the 3rd Annual Pink Show raising funds for the Real Men Wear Pink of Maine campaign. This show hangs in the Pop-Up Gallery at Studios Maine Art Hill in Kennebunk from October 1 to October 31. Some artists are participating for the first time, yet many have been involved since the beginning.

The owner of Maine Art Hill, John Spain, aka Real Man, has once again been selected for the to be one of seventeen candidates taking part in the American Cancer Society’s Real Men Wear Pink of Maine. RMWP gives men a leadership role in fighting breast cancer. Spain incorporated The Pink Show into his Real Men Wear Pink campaign as a way to grow the support he is able to give back.

 

“Breast cancer affects everyone. That’s why we’re recruiting men to fight breast cancer through Real Men Wear Pink. This distinguished group of community leaders is determined to raise awareness and money to support the American Cancer Society’s mission and save more lives than ever before from breast cancer,” says The American Cancer Society. “Every dollar raised helps the American Cancer Society save lives from breast cancer through early detection and prevention, innovative breast cancer research, and patient support.”

Real Men Wear Pink is an opportunity and an honor for Spain. Cancer has touched his world personally, as it has many. This also holds true for Maine Art Hill’s employees and participating artists. Each has fought with this disease, either individually or alongside family members.

“Taking care of each other can be a difficult task. We often don’t know what to do to help. RMWP focuses help where it is needed here in Maine,” says Spain. “This is everyone’s disease, be it a survivor who continues to fight every day or battled bravely but lost the fight. My job and the job of RMWP is to work hard, so they don’t have to.”

The gallery and their artists have teamed up to give 20% of all proceeds back to Spain’s campaign. Each sale is impacting the fight, and everyone on Maine Art Hill is supporting this endeavor.

The complete show may be viewed virtually through www.maine-art.com and opens with sales beginning at 10 AM on October 1. The galleries on Maine Art Hill in Kennebunk are open at 10 AM every day. FMI: 207-204-2042 or info@maine-art.com.

Be on the lookout for Spain’s alter ego, Real Man, around the area. To learn more about the show and the cause, visit Maine Art Hill’s Facebook page.

PARTICIPATING ARTISTS

Claire Bigbee, Heather and Holly Blanton, Charles Bluett, Karen Bruson, Donna D’Aquino, Mark Davis, Alex Dunwoodie, Elizabeth Ostrander, Kathy Ostrander Roberts, Margaret Gerding, Ellen Welch Granter, Rick Hamilton, Liz Hoag, Julie Houck, William B. Hoyt, David Jacobson, Ingunn Milla Joergenson, Kevin Keiser, John LeCours, Ryan Kohler, Jill Matthews, Karen McManus, Craig Mooney, Trip Park, David Riley Peterson, Janis Sanders, Bethany Harper Williams, Richard Winslow, David Witbeck.

A Bit of Escape – Craig Mooney, A Solo Show at Maine Art Hill

Craig Mooney’s one-man show is on display for three weeks at The Gallery at Maine Art Hill in Kennebunk, beginning Saturday, September 26, and running through most of October. The gallery at 14 Western Ave is showing this work through October. They are open every day at 10 AM.

Mooney, primarily an oil painter, has been with Maine Art Hill for over thirteen years. His work is well known, and a “Mooney Sky” is unmistakable. This show holds several of these famous seascapes and landscapes, but there are more than a few unexpected beauties.

John Spain, the owner of Maine Art Hill, notes, “A Craig Mooney Solo Show is always stunningly beautiful. However, there are continued surprises each and every time he shows his work in a large collection such as this.”

Mooney built this new body of work around romantic feelings of solace and quietude.

“For me, this is pure escapism from the current climate,” says Mooney.  “Times like these, I draw deeper into myself. I’ve sought out more classic motifs such as the lone boat on a quiet shore or the light on morning waves on the horizon. These universal themes may be slightly different but still convey comfort and safety.”

This spring Mooney used his time to experiment with new ways of viewing subjects and different techniques.

“In some cases, I’m striving for an economy of information on my canvas, looking to distill what is essential to convey my intent,” Mooney explains. “Sometimes, that’s as simple as leaving areas of the canvas unpainted or removing hues I normally include.

Mooney finds inspiration in all the places he has called home. Be it his native Manhattan, the mountains, and farms near his studio in Stowe, Vermont, or the beaches of Maine and Cape Cod, where he spends as much time as he can.

“I imbue these semi-abstract renderings of place with universal emotions. These works are meant to bring peace to those who view them,” Mooney shares. “They are a gentle reminder that life goes on and assure that there is cosmos amid this chaos.”

The Gallery on Maine Art Hill is at 14 Western Avenue in Lower Village, Kennebunk, and is open at 10 AM daily. This show will run from September 26 to October 26. FMI visit maine-art.com or call 967-2803.

MORE ON CRAIG MOONEY

NEW SHOW

ALL AVAILABLE WORK

STORIES AND INSIGHTS

 

Intaglio and Viscosity Printing with Artist Julie Houck

Here is just a bit of explanation for Julie Houck newest print works. So incredibly beautiful. These prints are still one of a kind works, just produced in a manner very different from her landscape work.

Intaglio  Printing

In intaglio printing, the lines to be printed are cut into a metal (e.g. copper) plate by means either of a cutting tool called a burin, held in the hand – in which case the process is called engraving; or through the corrosive action of acid – in which case the process is known as etching. In etching, for example, the plate is pre-covered in a thin, acid-resistant resin or wax ground. Using etching needles or burins, the artist or writer (etcher) engraves their image (therefore to be only where the plate beneath is exposed). The plate’s ground side is then dipped into acid, or the acid poured onto it. The acid bites into the surface of the plate where it was exposed. Biting is a printmaking term to describe the acid’s etching, or incising, of the image; its duration depends on the acid strength, metal’s reactivity, temperature, air pressure and the depth desired.[5] After the plate is sufficiently bitten it is removed from the acid bath, the ground is removed gently and the plate is usually dried or cleaned.

To print an intaglio plate, ink or inks are painted, wiped and/or dabbed into the recessed lines (such as with brushes/rubber gloves/rollers). The plate is then rubbed with tarlatan cloth to remove most of its waste (surface ink) and a final smooth wipe is often done with newspaper or old public phone book pages, leaving it in the incisions. Dampened paper will usually be fed against the plate, covered by a blanket, so when pressed by rolling press it is squeezed into the plate’s ink-filled grooves with uniform very high pressure. The blanket is then lifted, revealing the paper and printed image. The final stages repeat for each copy needed

From https://en.wikipedia.org/wiki/Intaglio_(printmaking)

 

Viscosity Printing

Three to four colors of ink are mixed, each of a different viscosity. This viscosity is adjusted by the addition of uncooked linseed oil.

Metal plates, usually copper or zinc, are used, as in the intaglio processes. The artist produces images on the plate by etching lines or textures. The plate is then inked in several stages. The first ink would be fairly dense—of a relatively high viscosity. The application of the high-viscosity ink is carried out as in any intaglio process: by forcing it into the recesses of the plate and then wiping off the plate’s surface with a tarlatan.

Ink of a second color, and the thinnest viscosity, is then applied to the surface of the plate with a hard rubber roller, so that it covers the plate in one pass and only transfers onto the highest areas of the plate. Ink of a third color, and a much stiffer consistency, is then applied to the lower areas of the plate with a softer rubber roller. The varying viscosities of the two rolled-on inks prevent them from mixing. A fourth color, of even thinner viscosity, can also be applied at this point. This color is either spread out on a glass plate, which is then pressed against the printing plate so that the ink only adheres to the highest points of the metal plate, or it is applied by a hard roller applied with very little pressure.

This process may be done with a monotype as well. Inking the acrylic or plexiglass plate with one ink with a very high viscosity, and following that, rolling a very loose ink over it, produces two tones on a single plate. One may attempt to scratch an image onto the plate, but acrylic and plexiglass plates are more temperamental than copper or zinc, and wear out sooner.

A sheet of printing paper is then placed on the upright plate and passed through a printing press, which prints all of the colors simultaneously. This is of a certain advantage, as in some other multi-color printing processes, correct registration of the blocks presents a difficulty.

From https://en.wikipedia.org/wiki/Viscosity_printing

MORE ABOUT JULIE HOUCK

SHOW AT MAINE ART SHOWS UNTIL OCTOBER 26

ALL AVAILABLE WORKS

STORIES AND INSIGHTS

 

 

 

Three Local Female Artists at Shows on Maine Art Hill

The state of Maine is famous for her diverse scenery and skies, and of course, colors. For most of September, three local female artists are celebrating it all.

This collection at Shows on Maine Art Hill, 10 Chase Hill Road in Kennebunk, features the work of Julie Houck, Claire Bigbee, and Liz Hoag. This is the last show of the season for the hilltop gallery, and it is slated to be a beauty. The doors are open on September 5 through September 24.

John Spain, the owner of Maine Art Hill, says, “These three talented, local women continue to amaze. Each sees this area they call home through different eyes and from different vantage points, so together, they capture the best of our state. Separately, they are incredible. Collectively, they are magic.”

Artist Julie Houck finds her magic in the sky. Many of her paintings are in oil, but a few are encaustic or a blend of both. The essence of light and classical training is seen in her work. Transparent layers are used to create luminosity. Landscapes and seascapes are a primary theme in Houck’s work. This year, however, she has also added abstracts.

“My abstract works veer sharply from the physical world. They find their inspiration by delving into the realm of painting what can only be felt, experienced, or thought,” says Houck. “Conversely, I am inspired by the interplay of light on the landscape. Painting softly allows me to recreate that one particularly special moment when the land, light, and atmosphere seamlessly fuse.”

Artist Claire Bigbee’s process with oils is also a response to the atmosphere and the view and the painting. For Bigbee, art is an expression of those moments when struck by her surroundings. There is something behind the scenery that drives her to return to nature. Everything is interconnected and part of one force, a genuine feeling of oneness.

“My paintings are inventions of nature through careful observation of the color relationships when the painting is underway. I prefer this approach rather than the idea of reproducing nature,” shares Bigbee. “Staying open and in the moment where you get lost, or the accidents occur, can turn the painting on or thrust it in a new direction. Those are thrilling moments when you’re on the edge of a painting. You get lost for a while.”

Lastly, we wander inland and change to acrylic paint, and no one does this better than Portland artist Liz Hoag. Finding her sanctuary, Hoag walks in the quiet of the woods, and in her studio, her new works focus on the soft and pure and represent even more of Maine.

“It’s important to find ways to focus on simpler things in life and remember that beauty still exists. Especially in Maine. The brooks, ponds, lakes, woods, and ocean give me that quiet calm I desperately need,” says Hoag. “I’m so lucky to be an artist who gets to interpret the beauty of this world. Taking the peace I find out there, I bring it to paintings so that others can also maybe find peace in beauty.”

This art show is a piece of quiet, a deep breath, and a gentle blossoming of Maine’s colors, and is not to be missed. It opens at Shows on Maine Art Hill starting Saturday, September 5, and runs through Thursday, September 24. The gallery at 10 Chase Hill Road is open daily from 10 AM to 5 PM. FMI call 207-967-0049. This show can be viewed online beginning Wednesday, September 2, at www.maine-art.com/shows.

CLICK THIS LINK TO VIEW THE SHOW VIRTUALLY

Read more about each of these artist click the links below

Claire Bigbee

Julie Houck

Liz Hoag

See the complete collection of each artist click the links below

Claire Bigbee

Julie Houck

Liz Hoag

A Piece of Quiet – Artist Insights from Liz Hoag

“Right now, my studio is my sanctuary.”

When the world gets crazy, we each need a sanctuary. For some, it is bright and shiny. For others, it is peaceful and calm. For artist Liz Hoag, it’s home.

“Though sometimes it’s hard to focus on complex tasks when thoughts of what’s going on outside these walls swirl in my head, I have managed to quietly create,” shares Hoag. “The creamy feel of paint on a brush and the unexpected success of an even a tiny section of a painting that feels just perfect makes my days.”

If not in her studio, Mother Nature provides a sanctuary of her own.

“Many of us are filled with anxiety about what’s coming in our country. It’s important to find ways to focus on simpler things in life and remember that beauty still exists,” says Hoag, “especially in Maine.”  

Nature is moving on with or without us, and Hoag is still out walking, always looking for a painting.

“The brooks, ponds, lakes, woods, and ocean still give me that quiet calm I desperately need,” explains Hoag. “The color and light are still gorgeous, the smell of the air still clean, the woods still quiet. This helps me feel balanced in what feels more and more like an off-balance world.”  

Liz Hoag is one of the lucky ones. She is an artist who is inspired to interpret the beauty of her world.

“I take the peace I find out there and bringing it to paintings so others can also…just maybe… find peace in beauty.

A more few links for Liz Hoag

More stories from Liz Hoag

Link to her complete collection of available works

Liz Hoag, Claire Bigbee, and Julie Houck 2020 Summer Show