Archive for Boothbay Harbor

Boothbay Region Art Foundation’s fall exhibit: ‘The Glory Days of Autumn’

“Autumn Marsh,” by Suzanne Marinell.

Boothbay Region Art Foundation’s final members show for the summer of 2021 is providing a seasonal theme with fall colors predominating, along with the “perennial” last blooms of summer. As always, the foundation’s collection includes an eclectic variety of styles, mediums and subject matter.

In addition to the regular members’ show, BRAF is sponsoring two special solo-artists with shows in the upstairs area. In Gallery One, Waterville artist Barbara Chase is presenting her “Maine-ly Inspired” collection of acrylics. Subjects include barnyard critters, coastal scenery, birds and bees, and landscapes and flowers.

In the upstairs Harbor-View Room, Diana Washburn, of Falmouth, has installed a body of work featuring pastels, paints and mixed media. Landscapes are her favorite subject because scenery is never the same twice — each painting becomes a a frozen moment in time. Most of all, Washburn wants to share her love of painting with others.

The current members exhibit and the upstairs solo shows will continue through Oct. 11.

The gallery is located in downtown Boothbay Harbor at 1 Townsend Ave. Hours are 10 a.m. to 5:30 p.m. Monday through Saturday and 11 a.m. to 5 p.m. Sunday.

Call for Art: ARTinME! 2021

2019 ArtinME Best in Show: Andy Benoit.

Boothbay Region Art Foundation presents a state-wide juried exhibit, open to all full- and part-time Maine residents.

The juror will be Keith Oehmig, director of Wiscasset Bay Gallery.

The deadline for digital submissions is midnight Oct. 1.

The exhibit will run from Oct. 15 to Nov. 14, and an awards reception will be held from 5 to 7 p.m. Oct. 16, with up to $1,600 in prizes.

For a full prospectus on the exhibition, go to https://www.boothbayartists.org/about-5.

Michael Vermette: 50 Plus One’ artist reception and book signing at Gleason Fine Art 

“Bright Sunset in August, Chamberlain Lake, Allagash Wilderness Waterway,” by Michael Vermette.

Gleason Fine Art will host a reception and book-signing for the gallery’s August show, “Michael Vermette: 50 Plus One,” from 5 to 7 p.m. Aug. 6.

The show celebrates the 50th anniversary of the creation of Maine’s Allagash Wilderness Waterway and plein-air artist Michael Vermette’s selection as its inaugural visiting artist. The show’s title refers to both the number of years the waterway has existed as a protected park and the number of paintings Vermette committed to painting during his residency. “50 Plus One” is also the title of Vermette’s book on this first-ever Allagash adventure.

Vermette, who is as eloquent in words as he is in painting, describes becoming the Allagash’s first artist in residence best:

In April of 2019, I received two emails encouraging me to apply for the Allagash Wilderness Waterway visiting artist program. I would be the inaugural artist to experience the 92-mile-long wild river system that is the Allagash. The two-week residency was hosted and designed by Maine’s Department of Agriculture, Conservation, and Forestry, which established the program to mark the 50th anniversary of the creation of this spectacular, scenic waterway.

Weeks later, when I was informed that I was selected, I was utterly astounded that they would pick me out of the hundreds of applicants who had applied. My application had described my residency in four parts.

First, I would paint three to four, 8 by 10 oils each day, each at a different location. Second, I would focus on the joy of painting, no matter the difficulties or circumstances. Third, I would arise each day with two hands in the present and not be distracted by past paintings or even future ones. Last, I would finish well, capturing the ‘life force’ of the Allagash, as best I could.

As an inter-related member of the Penobscot tribe by marriage, I fully agree with the philosophy of my First Nation wife that the River is more than what runs through a village, but it is its very ‘Life Source.’ In hindsight, I now know that sometimes the most absurd idea at the most inconvenient time can be the very breakthrough you are looking for. It was such for me in this residency.

The exhibit runs through Aug. 31.

Gleason Fine Art is at 31 Townsend Ave., Boothbay Harbor. Gallery hours are 10 a.m. to 5 p.m. Monday through Saturday and noon to 4 p.m. Sunday. For more information, call Gleason Fine Art at 207-633-6849, email the gallery at info@gleasonfineart.com. To view the show, as well as the gallery’s inventory of contemporary and estate art, visit www.gleasonfineart.com.

‘Near and Far’ solo show by Henry Isaacs at Gleason Fine Art

 

 

Gleason Fine Art presents work by Henry Isaacs in the exhibit “Near and Far,” featuring oil paintings of Maine, Vermont and Nepal.

The show runs from July 1 to Aug. 3, with an opening reception from 5 to 7 p.m. July 2. A show catalog is available.

Isaacs has traveled the world over, painting as he goes, often working on commissions — Europe, Central and South America, all of the Canadian provinces, the Himalayas, and 49 of the states in the United States. Returning to home base, Isaacs and his wife have ping-ponged between the coast of Maine and rural Vermont.

Isaacs paints with energy, passion, and self-assurance. His style — broken brushwork and a palette of delicate blues, greens, pinks, and yellows — marks him as one of the most recognizable artists painting in New England today.

Isaacs’ methodology is as unique as his paintings are. He never works from photographs. Instead, wherever he goes, he totes a backpack loaded with oil paints, brushes, and tiny canvasses and panels. To capture the essence of a spot that takes his eye, he paints what he calls “notes.” Some of these “notes” are just a few brush flicks; others, though small in size, resemble finished paintings. For a large painting, Isaacs might make dozens of these “notes.” For a commission, he makes scores.

Commissions have taken Isaacs to far-flung places — to the Kalahari Desert, for example, and twice to Nepal. Isaacs is only the second career artist to have tackled painting on-site in the Himalayas (the first, Nicolas Roerich, worked nearly one hundred years ago) — a fact that is especially amazing considering that Isaacs turned 70 this spring. Two of Isaacs’ smaller Himalayan paintings, of Ama Dablam Mountain, in the Everest Range, are featured in this catalog. They measure 3 feet by 4 feet. Several even larger paintings of the Himalayas are available at the gallery.

Many reviewers have waxed poetic when writing about Henry Isaacs’ paintings, but perhaps his close friend and former Maine Today Media arts reviewer Dan Kany says it best: “Isaacs balances warm and cool tones brilliantly. His handling of paint owes an unapologetic debt to the chunky boldness of the early Modernists and Fauves. The brushwork is strong and primarily dedicated to pushing the paint around on the canvas — an activity Isaacs clearly enjoys.”

Isaacs will be in attendance for his reception and thrilled to be able to chat in person with his friends and admirers. The artist and gallery owners are all fully vaccinated.

Gleason Fine Art is at 31 Townsend Ave., Boothbay Harbor. Gallery hours are 10 a.m. to 5 p.m. Monday through Saturday and noon to 4 p.m. Sunday. For more information, call Gleason Fine Art at 207-633-6849, email the gallery at info@gleasonfineart.com, or go to www.gleasonfineart.com.

July shows at Studio 53 Fine Art Gallery feature David Estey and Jack Silverio

“Inexplicably Blue,” by David Estey.

Belfast painter David Estey and Lincolnville painter/sculptor Jack Silverio have repeat solo exhibits at Studio 53 with 20 recent paintings and 20 paintings and three sculptures, respectively.

An opening reception will be held from 5 to 7 p.m. July 2, and the show will remain on display through Aug. 1.

Estey’s works are improvisational abstract images in a variety of sizes done in acrylic on canvas, panels or paper mounted on panels. This is his third solo show at Studio 53. He is an award-winning native, with a BFA degree from Rhode Island School of Design as a participant in the Rome Honors Program, a MSA degree from George Washington University, and years of study at Pennsylvania Academy of the Fine Arts. He has exhibited widely in the Mid-Atlantic States, North Carolina and Maine. He has produced over 10,800 pieces of art, some of which are in private and public collections in 20 states and seven countries.

Silverio’s paintings and sculptures are a study in graduated proportions working with the Fibonacci series and the Golden Ratio. This is his second solo show at Studio 53. He also is a graduate of RISD and a participant in the Rome Honors Program. He was a practicing architect for 40 years and now devotes himself entirely to painting and sculpture. He has exhibited widely in universities and galleries throughout Maine. He is the author of three books about architecture and a new book called “Art with Fibonacci — Working with the Golden Ratio.”

The remainder of the three-story gallery will be filled with work by owners Heidi Seidelhuber and Terry Seaman and the other gallery artists.

Studio 53 Fine Art Gallery is at 53 Townsend Ave., Boothbay Harbor. It is open from 11 a.m. to 5 p.m. daily. Call 207-633-2755, email studio53bbh@aol.com, or go to www.studio53fineart.com for more information.

For more information about Estey, visit www.davidestey.com.

For information on Silverio, visit www.silverioartworks.com.

Gleason Fine Art exhibits ‘Dorothy Eisner: Paper Collages and Select Oils’

A piece by Dorothy Eisner.

Gleason Fine Art in Boothbay Harbor is showing the paper collages and select oils of Cranberry Island artist Dorothy Eisner (1906-1984) from May 27 to June 29.

For 24 summers at the end of her life, Eisner was an enthusiastic member of Cranberry Island’s large artistic community, which included John Heliker, William Kienbusch, Gretna Campbell, Carl Nelson and many others. Gleason Fine Art is honored to represent the estate of Dorothy Eisner for her daughter, Christie McDonald.

Dorothy Eisner was born in Manhattan in 1906. She entered her teen years just as New York City became fully besotted with what would become known as the Roaring Twenties and the Jazz Age. Businesses were booming; Henry Ford was rolling out cars for eager buyers; women nicknamed “flappers” were free to wear short, flippy dresses. Music, especially all forms of jazz, and dance were enjoyed everywhere. Life was good, and The City was the place to be.

Young Dorothy was already showing the promise that would lead to her life in art. As a child, she won drawing contests. As a high school student, she studied at the prestigious Ethical Culture High School in Manhattan, a school known for its arts instruction. Then at the famous Art Students League, her skills grew under the tutelage of such renowned instructors as Thomas Hart Benton and Kenneth Hayes Miller.

Meanwhile, modernism, an exciting new art form imported from Europe, was challenging artists to step away from realism. Eisner herself was taken by the work of Henri Matisse, one of modernism’s grandmasters. Although it would be years before Eisner incorporated the modernists’ ideas, she still found early success painting in the social realist style. In New York, she exhibited her work broadly, amassing numerous awards. She was often singled out for praise: the New York Post critic called her paintings “thorough and vigorous”; the Times critic remarked on her “free brushwork”; the Post critic called one of her paintings “the outstanding canvas of the show.”

In 1936, after marrying John McDonald, a journalist, Eisner and her new husband began to travel widely — to Mexico, Europe and the American West, where the couple often stayed in Livingston, Montana, known for its fly-fishing. It was in Montana that Eisner first experimented with paper collage, a way of artmaking made famous by Matisse and Picasso.

Few of Eisner’s paper collages have survived, but the ones that do exist show the clear influence of Matisse and the modernists. The collages also serve to indicate the path forward that eventually led Eisner to modernism, a style she explored and made her own during the summers she spent on Great Cranberry Island. For example, in Eisner’s collage “Camp Basketball” and in her oil paintings of the same title, Eisner used bold, solid blocks of color to compose her figures. The results are delightful: darting and jumping groups of uniformed girls in bright, white shirts and navy-blue ties. The girls are having fun, and so is the viewer.

In many of the paintings Eisner made during her Cranberry Island years — such as “Preble Cove,” the croquet series (the family members were fierce croquet competitors), and “Exercise Class” — she used the bold, solid blocks of color that have much in common with her earlier collages, such as “Baseball” and “Snowball.” Eisner’s Cranberry Island creations are emphatically modern.

As with many women painters of her time, after marrying, Eisner set aside her career as an artist. Many of her friends, and even her family, knew little of her artistic endeavors, let alone her acknowledged talent — that is, until she came to Cranberry Island. On Cranberry, she and her art blossomed in the company of fellow artists who encouraged her. The oils she made on Cranberry are bright and bold and considered by many the most successful of her career.

“Dorothy Eisner (1906 -1984): Paper Collages and Select Oils” runs from May 27 through June 29 at Gleason Fine Art, 31 Townsend Ave., Boothbay Harbor. Spring hours at the gallery are 10 a.m. to 4 p.m. Monday through Saturday and other times by appointment. The gallery requests that you mask up if you have not had your vaccinations. Gallery owners (Dennis, Marty and Andrew Gleason) are fully vaccinated. Call the gallery at 207-633-6849 or email info@gleasonfineart.com for further information. Check out the Dorothy Eisner show as well the gallery’s entire inventory of contemporary and estate art at gleasonfineart.com.

Gleason Fine Art named “Best Art Gallery” by Down East

 

Gleason Fine Art was named Best Art Gallery in Maine in Down East magazine’s annual Best of Maine issue (the September issue, now on the stands). In mid-spring, Down East asked its readers to pick their own favorites in each of dozens of categories, ranging from art galleries to architects and hotels to hardware stores.

The Down East editors then organized all of the suggestions by numbers of reader-votes. In each category, such as “Best Art Gallery,” the five entries that received the most votes were named finalists, and readers were asked to make their picks of Best in Maine from among these five. Winners of the “Best of Maine” awards were selected from these votes. This year, the magazine was inundated with thousands of replies.

Gleason Fine Art, located at 31 Townsend Avenue in the center of Boothbay Harbor, is owned by the Gleason family–Dennis, Marty, and their son Andrew. The Gleasons are known for the diversity of their collection as well as the depth of their knowledge about the artworks on offer. Gallery owner Dennis Gleason says, “There’s been a Gleason Fine Art in Boothbay Harbor for over 30 years, but if Bud Logan [beloved former owner of the nearly century-old House of Logan clothing store] were still alive, he’d be quick to remind us that we’re still the ‘new’ business in town!”

We at Gleason Fine Art would like thank all of our dedicated and talented artists as well as our enthusiastic clientele for making this very special honor happen. “We would not have survived 5 years, let alone nearly 40, without all of them,” says co-owner Marty Gleason.

‘Ed Parker: Painting the Story’ on exhibit at Gleason Fine Art

“Ship’s Musicians on a Right Whale,” by Ed Parker.

Gleason Fine Art hosts “Ed Parker: Painting the Story,” on exhibit from Aug. 20 through Sept. 22.

The Southport resident is universally acknowledged as one of America’s leading marine painters working in the folk art tradition. It is also fair to say that his creations are far more sophisticated than the term “folk art” might suggest.

For each of Ed Parker’s complex and expertly composed  paintings, the artist sifts through his vast knowledge of all things nautical to select nuggets of history and humor that, using his unerring sense of design, detail, and color, he brings to life in a new painting. The result is a work of art that tells a story, usually with embellishment, always with humor, and generally with close attention to an actual historical event.

In “Heading Out to Ram Island,” Parker depicts a man and woman ferrying a dory of sheep out to “Ram Island.” At one time, sheep were often delivered to an island where they could safely graze untended for the summer; thus, there are many “Ram Islands” along the Maine coast. In Parker’s version, a stalwart fellow captains his boat, while his dog stands guard at the bow; the single ram strikes a lordly pose at the stern. Sharp eyes will note that the ram is not “in” the boat but “on” it. Lambs peak at the trailing dory filled with the mamas, who look a touch perplexed at finding themselves in such a tippy craft.

In “Ship’s Musicians Stranded on a Right Whale,” Parker has taken a true story — a group of musicians entertaining the crew of the battleship Maine — and turned it into a succession of disasters for the musicians. In Parker’s imagination, the musicians were terrible, so after the Maine, they were cast adrift in the North Atlantic. Next, they found themselves suspended from Minot Light, and finally, still in their rowboat, they landed on top of a right whale. Still they play on, or in Parker’s words, “These guys just don’t know when to stop.” It should be noted that, although surprised at this turn of events, the right whale is clearly having a great time.

If you are looking for a little humor during these strange late-summer days of 2020, Parker’s wonderful creations on display in “Painting the Story” should bring a smile to your face, or perhaps even a laugh out loud. There are sailboats and steamers, lighthouses and farmhouses, dogs, cats, and a sprinkling of fierce sea serpents, all engaged in likely, as well as quite unlikely, goings on.

“Ed Parker: Painting the Story” opens Aug. 20 at Gleason Fine Art.

Gleason Fine Art is at 31 Townsend Ave., Boothbay Harbor. Although no reception is planned, the gallery is open from 10 a.m. to 5 p.m. Monday through Saturday and noon to 4 p.m. Sunday. For more information, call Gleason Fine Art at 207-633-6849, email the gallery at info@gleasonfineart.com, or go to www.gleasonfineart.com.

Boothbay Region Art Foundation showcases work by 80 member artists

Works of established and emerging artists of the Boothbay Region and beyond are featured at the Boothbay Region Art Foundation’s gallery.

The fine art available in the gallery represents the work of painters, sculptors, print makers, photographers and other media artists, as well as fine reproductions and prints. The work is available in a range of price points.

The July/August members show opened on July 22. The work of 80 members, and the range and color of the work, make for a spectacular, uplifting exhibit.

The gallery is open from 10 a.m. to 5:30 p.m. Monday through Saturday and 11 a.m. to 5:30 p.m. Sundays. The Boothbay Region Art Foundation, 1 Townsend Ave., Boothbay Harbor. Call 207-633-2703 or email boothbayartists@gmail.com for more information.