Archive for Boothbay Harbor

‘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, or go to

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, or go to for more information.

For more information about Estey, visit

For information on Silverio, visit

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 for further information. Check out the Dorothy Eisner show as well the gallery’s entire inventory of contemporary and estate art at

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, or go to

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 for more information.

‘Small Wonders’ takes flight at Joy To The Wind

“Bright Eyes,” by Lynne Seitzer.

The year is unusual in every way with the pandemic, yet the joy of creating continues at Joy To The Wind Gallery. The gallery is currently featuring a new show of small paintings by Lynne Seitzer. Aptly titled “Small Wonders,” the show is all about birds. The opening is Aug. 7.

“This year has been unlike anything we have ever known. I feel reassurance and a sense of normalcy when I hear the birds sing. They carry on, preparing for new life. It is a joy to witness,” Seitzer says.

These small paintings are beautifully rendered in oil on canvas. Every painting is a portrait. Seitzer focused on several migratory songbirds. Some began arriving or passing through in the spring, while others stayed all year long. Her subjects include the robin, Baltimore oriole, goldfinch, and blue jay to name a few. Listening to the birds sing outside her studio windows inspired the work. She utilized outdoor observations and photographs and then verified markings with bird guides. She also painted a trio of puffins and a juvenile eagle, based on a recent photograph taken by a friend.

Finding her own joy and offering it to others is central to Seitzer’s work — especially now.

“Everyone on the planet is feeling the uncertainty, and there is a sweetness to the presence of a feathered friend,” she says. “These little paintings make me happy. From this place of joy, I believe I am more likely to offer joy to others.”

Seitzer and her husband, John, are both artists who have owned and operated Joy to the Wind Gallery in Boothbay Harbor for more than 20 years. Their work is varied in style; many people who visit for the first time think there are many more artists creating the work on their walls. John runs a custom framing business upstairs and frames all of their own art for the gallery.

Joy To The Wind Gallery will celebrate the First Friday Art Tour from 10 a.m. to 5 p.m. Aug. 7 featuring work by both artists during an open house. The show runs through Aug. 31. No more than five people are permitted inside at one time, and everyone must wear a mask. Chairs will be available to lounge on outside, too. The gallery is located at 34 Atlantic Ave., on the east side of the harbor. Call 207-633-7025 or visit for details.

Tom Curry exhibits ‘Surrounded by Water’

“Morning Glow,” by Tom Curry.

Beginning Aug. 6 and running through Sept. 8, Gleason Fine Art presents “Tom Curry: Surrounded by Water.” The Brooklin plein-air painter has been represented by Gleason Fine Art for over 15 years. This is Tom’s fourth solo show.

Tom Curry is intrigued with the idea of being surrounded by water. His first port of call after completing degrees at RISD and Yale was Hawaii. After tiring of Hawaii, Curry and his wife, the science and children’s book writer Kim Ridley, tried the opposite coast and something completely different — the tiny, picturesque Downeast village of Brooklin.

It’s hard to get away from the water in Brooklin. Country roads wind past green fields that are startlingly close to flocks of tiny islands. Jutting peninsulas, waterfalls and impossibly narrow bridges make for a dreamlike landscape. The lush green is juxtaposed by the intense blues of the sea and sky and the creamy whites of cumulus clouds.

Susan Hand Shetterly, one of Maine’s most poetic writers, lovingly describes Curry’s paintings of these landscapes: “For those of us who have lived a long time in the Maine landscape, it is as if Tom Curry were rendering the ache of the familiar and beloved” (from S. H. Shetterly, Down East magazine).

Curry has lived in this Maine Shangri-La for over two decades, finding a constant source of inspiration in his surroundings.

“For the past 22 years, I have painted the landscape around my home in Maine, including a small island [Chatto] just offshore that has become the subject of a series of more than 60 paintings,” he says. “In this series, I paint the interplay of light, sky and water. Working outdoors, I can be in direct contact with the clear, searing light or the dense fog, the heat of the sun or a frigid wind, the sounds of crickets or distant drone of a fishing boat. I seek to create a powerful and intimate sense — and experience — of these places using layers of saturated color and compositions distilled to bold, elemental forms.”

Chatto Island is the focus of several of Tom Curry’s new paintings at Gleason Fine Art. In both “Eventide” and “Twilight,” Curry explores the quickly changing colors that twilight brings. In “Morning Glow,” a sun-struck, lime-green Chatto floats halfway between a surreal sea and sky of intense blue-gray — signaling a wild weather day in Brooklin.

“Tom Curry: Surrounded by Water” runs through Sept. 8 at Gleason Fine Art in Boothbay Harbor. Although there will be no artist reception, the gallery is open from 10 a.m. to 5 p.m. Monday through Saturday and noon to 4 p.m. on Sundays. All current CDC precautions are followed. For more information, call the gallery at 207-633-6849 or email To view Tom Curry’s show, as well as the gallery’s entire inventory of contemporary and estate art, check out the gallery’s website at

Gleason Artist Lyn Asselta wins Major International Award

Lyn Asselta, “As We Wait for Summer,” pastel on paper, 21×28”

As any gallery owner knows, artist requests for representation are frequent. The fact is, there are far more talented artists than there are galleries that handle fine art. With so many artists to choose from, what a gallery is looking for is an artist who stands out, who has something unique and special to offer. When Lyn Asselta approached Gleason Fine Art last year, we knew right away that she was an artist whose paintings we wanted to carry.

Lyn Asselta paints landscapes in pastel, a medium that is notoriously difficult to master. But master it she has. In fact, one of her paintings recently took Gold at the prestigious 36th Juried Exhibition of the International Association of Pastel Societies. For a pastel artist, this is like winning the Kentucky Derby.

Asselta’s pastels are transcendent. Some, such as the breath-taking “Slow Dance with Fog,” are delicate and moody. In others, such as the bold “As We Wait for Summer,” sunlight bounces from rocky outcroppings to greening shrubs to brilliant blue skies. Clearly, the artist revels in the natural world that is so close at hand along the Maine coast.

Lyn Asselta’s life and art career have recently come full circle. Having grown up in York and Cape Neddick, with a two-year stint at the former Portland School of Art, she headed south to Florida after a family tragedy, intending to be away from Maine for only a short time. The year or two turned into 36 years, during which she raised a daughter and worked as an art teacher, a designer, and finally a landscape painter.
Never a fan of warm weather, Asselta longed for Maine’s ever-changing weather and rocky coast. Finally, last year she packed up her studio and moved to a house in mid-coast Maine. Here, with sunsets over a tidal cove and mossy hills outlined with old stone walls, Asselta has found the inspiration she needs and has loved all her life.

In Maine, Lyn Asselta’s pastels may be found at Gleason Fine Art, 31 Townsend Avenue, in Boothbay Harbor. Her work may also be viewed on the gallery website, For further information, call or email the gallery at 207-633-6849 or For now, Gleason Fine Art is open to the public, Tuesday through Saturday, 10 am to 4 pm. Hours may be extended as the season progresses. An appointment for a personal viewing of the gallery may be arranged by calling or emailing the gallery.

Joy To The Wind Gallery Presents ‘Barns. Rural cathedrals and simple sheds.’

Barns. Rural cathedrals and simple sheds, reminders of a life connected to the land. It was the type of farming that determined the type of barn that would be built. Log barns, stone foundations, shingled barns, clapboard barns, cribbed barns-painted, unpainted, windowed or windowless. The designs were influenced by local materials and cultural influence. Roofs progressed from thatch to wood shingles, than asphalt and now sheet metal. Walls were often vertically boarded while crib barns and sheds were installed horizontally. A barn might be left unpainted but more often it would be covered in red oxide paint. This paint was common and inexpensive. It was made by the farmer from iron red oxide in the soil, linseed oil from the flax crop and casein from their dairy cattle.

The intrigue of painting barns is witnessed by the number of painters who have chosen them as subject matter. To the painter’s eye these buildings are first seen as form in space. Then as shadows, light, texture and color. Window and door placement provide decorative design. Proximity and distance to the structure define the barn as either a portrait or as an element in a landscape. Finally, the mood is set with color, tone and brushwork.

Other featured paintings range from prominent white barns rendered in layers using a painting knife, low structures and rusty roofed barns done in textural brushwork and simple sheds painted in softly subdued tones. The artists, Lynne and John Seitzer have represented a diverse variety of barns some dynamic and others as pleasant reminders of their previous life.  The exhibit ‘Barns. Rural cathedrals and simple sheds ‘is on view at Joy To The Wind Gallery for the month of September. 34 Atlantic Avenue ,Boothbay Harbor. 207 633 7025.