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ART SPIRIT NEWSLETTER November 24th, 2020

11/25/2020 1:48:31 PM | By Michael E. Vemette | Comment on this

What Are You Thankful For?

If we take the time to stop and think what we are thankful for, I bet we could share for hours. But to narrow it down even further, what might you be thankful for, that set you up for success and even put you on the right path for your life? A blessing like that could completely blindsided you, because you may not have see that goodness from others coming.

Ever since I can remember I made drawings and was artistic. My talent compensated for my Dyslexia that made me struggle in my elementary and high school years. All throughout my life Art became the one thing I was good at and my family, teachers and community always made room for my exceptional creative ability. But it wasn't until I received a spiritual encounter at 17 years old that I knew that this talent I had was to be more than a coping skill to achieve success. I was being called to the "Ministry of the Arts," as a painter first and an educator second.

This clear calling came to me on Monhegan Island when my mother invited me to go there with her on a day trip. It started in 1976 just before I graduated from Brunswick High School. I had applied to Temple University at Tyler School of Art and Architecture in Philadelphia and also at RISD Rhode Island School of Design in Rhode Island. At both universities I received the highest score that anyone could get for my portfolio review. But my grade point average was far from honors. And soon it became clear to me that my portfolio was not going to be enough to get me into the top colleges of the country. So, feeling ashamed I hid it from my friends who would ask almost daily, if I had heard news from these top art colleges. I went into a sort of depressive funk that left me feeling less than great as an artist and I stopped doing art for a time.

My mother saw this in me and immediately launched a plan. You see, my mother worked at Stowe Travel Agency in Brunswick, Maine where we lived. I had been taking private lessons from a Yugoslavian artist, Alica Stonebreaker who was the first to teach me how to paint in watercolor. She use to rave about her summer trips to Monhegan Island and I would always check out her paintings with anticipated interest when she returned.

So my mother, who was a very clever woman, asked me, "How would you like to go with me to Monhegan Island for a day?" Even though my mother traveled all over the world through Stowe Travel agency, I was thrilled at the invitation and so it didn't take too much convincing for me to say yes.

So late that summer, she made the arrangements for us to travel to Monhegan Island by ferry out of Boothbay Harbor. It was all very exciting to me and I even got a chance to sit at the bow of the boat like I imagined my grandfather Crouse would have as a Lobsertman out of Rockland, Maine. I took my watercolor supplies with me on that hot Summer Day and I remember the beautifully tanned locals who dove from the dock just as we had arrived. But my mother and I were on a mission. We hiked up Horn Hill and out to Burnt Head so that I could paint my first watercolor of the rugged headlands.

The day seemed to go by way too fast as my mother and I ate lunch atop Burnt Head and I had already begun the painting. My mother often sat with me for hours and watched me paint. She did this for many years and was always my greatest support. But on this day she decided to hike back on her own and explore the quaint coastal village. She warned me to be back before the boat departed in the afternoon and I agreed and painted right through in her absence. I just barely finished the watercolor in time and I had to hurry like so many do to arrive in time to catch the Balmy Day's departure.

It was then when I arrived in the village that my mother walked me into the Island Inn and revealed her plan. She introduced me to Bob Burton, the hotel manager and owner and asked, "How would you like to stay the night at the Inn?" I was completely surprised! My mother had set me up to have an encounter on my own on Monhegan Island and I was completely taken off guard. And soon after, my mother left the island and I found myself settling into my room at the Island Inn. I had a lot of time to gather my thoughts as I ate my supper alone in the elegant dining hall. And after supper, I hiked up Lighthouse Hill to witness the most spectacular sunset of my life. The seas were completely calm and smooth as glass. And I remember I just sat quietly and still because if I moved I thought the moment might end. Then a lobster boat turned into the desending ball of light at the horizon as the boat left the only wake that grew wider and wider by the moment.

It was then that I had my supernatural encounter. First, as the single waves of the lobster boat were spreading wider apart, I heard a voice say to me, "I love you this much!" And got a visual reminder of God's infinite love as the wake grew until out of sight.

Then, softly, I it once more, "I want you to go to College this year."

I walked away from that Island experience with purpose and an urgency to attend Maine College of Art. And that was all well and good, but it was getting very late to apply to art college at this time of year and I wondered if I would even be able to apply. When I checked further I realized that I needed help because it was late in the summer and classes were starting in a few days. So my mother and I went to a good friend and spiritual leader's house whom after seeing my portfolio and hearing about my call from God, made his own call. This person's name was Norman Houde, whom was a very affluential person in the Brunswick community where we lived. He made a call to the registrar's office that day before classes began and I will never forget what he said over the phone. He said," I have a very talented student who would like to attend your college." The woman, who was Joann Waxman I believe, said, " Absolutly, we would love to take his name and application for next year." Then Norm shocked me by immediately returning, "No, you don't understand; he wants to go this year and we will be right down!" then he quickly hung up, not giving her a chance to reply.

He said to me, "Let go!' and off to Portland we went, me feeling very neverious. The director saw me right off and reviewed my portfolio and was very impressed. Amazingly, I was accepted the day before school started based on the insistence of my mother and Norm and that portfolio. The director of the college was Bill Colins at the time and he told me, " Come up with $100.00 by tomorrow for your registration and you are in. Classes begin tomorrow!" The impossible suddenly became possible!

But my mother and I din't have that kind of money in those days, so she went to her boss, Mary White at Stowe Travel Agency and worked it out to borrow the money for my registration. For years I worked for Mary weeding her garden during the the summer months for extra cash. On the rare time that I was invited into her cottage I use to admiring an Alica Stonebreaker watercolor of Katahdin that she had commissioned her to paint. She use to always complain how Alicia didn't get Katahdin quite right. You see Mary's maiden name was "Baxter", and later I discovered that she was the granddaughter of Governor Percival Proctor Baxter. It was through her and my mother that I received my start iat maine College of Art and my first connection of Katahdin at Baxter State Park.

That year in college I met many artistic friends whom were uniquely talented, and creative minded, like me. I felt as if I had died and had gone to heaven.The classes were all geared toward the student as an artist and I felt as if, for the first time, I was understood. And even though every one of my prideful bubbles was broken that first year, I finally found where I belonged. The day I got accepted into collage I was directed to go over to the finical aid office and I applied for a BEOG scholarship that I was awarded for the next 4 years. It payed for my tuition completely so that I could graduated debt free. After that first year everything changed for me. I was on the honor roll and was able to pay my tuition for that year having exactly $100.00 left over that I used to pay back the money my mother borrowed from Mary White. And I still remember getting free bus rides to Portland from Brunswick and back, getting to know all the drivers. In fact I was on the honor roll for all 4 years of my college education and when I continued my education at the University of Maine at Orono I received highest honors as an art educator certified to teach Kindergarten through 12th grades.

So in this Thanksgiving season, I am thankful for the women and men in my life whom had the courage to step out and hatch a plan, carry it out and see it through for my benefit. Without their courage and their spiritually inspired intervention in my life, I wouldn't be where I am today. And for them and Godly providence I am being mindfully thankful.

May you be blindside by God's goodness during this Thanksgiving,

Michael E. Vermette

THE HOLIDAY SALE CONTINUES

Including the watercolor above, these are the new paintings that I have recently posted on eBay's auction. Maybe you will find your painting this season.

"Sunset At Wadsworth Cove, Castine, Maine" an oil on carded birch panel 11 x 14 inches by Michael E. Vermette. The starting bid crawlce is:$ If you prod like to place a bid on this painting CLICK HERE.

"Sunset At Wadsworth Cove Beach, Castine, Maine"

Michael E. Vermette captured this fresh plein air oil sketch as one of the selected artist of the Castine Plein Air Festival in 2018 in Castine, Maine. This painting is one seven paintings that he made over the weekend and is one a few paintings left from his Castine, Maine portfolio. This painting depicts a rocky-sand beach rich with the robust colors of a sunset at Wadsworth Cove Beach. The sunlit stream flowing into the sea cove is the waters from the British Canal. that natural flows under a road and the beach, eventually reappearing in route to the ocean. Casting, Maine is one of the oldest communities in North America. Its rich history and multi-cultural background only adds to its wonderful mystic. Michael chooses to aline himself directly behind the outlet of the British Canal that flows away from the viewer into the sea. The Sun is setting on the horizon and shining its light up the waters of the canal as the waters meet the sea. It appears as though the waters are reaching for the last light of the sun as it is setting.

Michael says, "This painting was the last of a series of 7 paintings I painted that weekend for the former Castine Plein Air Festival. I love how the waters of the British Canal flow toward the sunset as the sun's rays light up the tidal streams. It is visually exciting when one geodetic feature relates to another, as with here, the beach and the canal under the setting sun. This place is so connected in nature"

This is an oil painted study made on location in Michael's impasto style of thick strokes of paint on a solid alabaster stone-coated birch cradled panel, as used by the Italian masters. These masters totally left out the use of turpentine and other solvents because it dulled their colors and eventually caused them to crack. They discovered that by Mixing black oil wax medium to their oil paint it not only improved the viscosity of the paint, but it increased its richness and offered an amazing velvety sheen in appearance that would never crack. Michael makes this medium himself and uses it in his impasto paintings just as the Italian master's did. It is extremely archival. He mixes it with pure Williamsburg handmade painting pigments to the consistency of peanut better and it supports the integrity of every one of his expressive painterly marks that he doesn't try to hide in the painting.
As with other great impasto painters from Titian to Van Goah, Michael uses a descriptive stroke that describes lines of power, motion, and shape in describing the character of this sunset at Wadsworth Cove Beach and the waters of the British Canal flowing toward the open sea. He paints in an impasto (thick) style using assorted palette knives and occasional thick loaded brush strokes and an Italian Black Oil Wax medium that he makes himself and that sets him apart from other artists. He adds this medium to the oil paint to not only increase the oil paint's viscosity but to actually preserve the character and luster of every stroke of the artist. It also improves the color to a brighter velvety semi-transparent glow. This painting is also painted on a highly prized Gypsum Gessoed (Alabaster Stone coated gesso formula) over a kiln dried birch panel that is cradled to never warp which he prepares himself. This painting does not come framed but is ready to set in beautifuly in a plein air or floater frame for a lifetime of enjoyment as a jewel on your wall.

"Small Falls in Rangeley, Maine" a watercolor on J. Whatman 1956 WC Paper 11 x 15 inches by Michael. The starting bid price for this painting is $200.00, If you would like template a bid on this painting CLICK HERE.

"Small Falls In Rangeley, Maine"

This was one of the first Small Falls watercolors made by Michael E. Vermette that captures the full light and color of an afternoon day in August of 2019. It is painted on 1936 vintage handmade Whatman Watercolor paper that has yielded beautiful layers of transparent washes. Small Falls is located just off the Rangeley road at the Small Falls rest area about 15 minutes from downtown Rangeley, Maine. He painted this stunning watercolor while conducting one of his first plein air watercolor painting classes in Rangeley from the vantage point of the wooden bridge. Located just off route 4 the trailhead that is just off the south side begins with this wooden bridge. Michael chose this site for his plein air workshop because it actually offers a series of waterfalls that cascade on the Sandy River, in township East, of West Franklin, Maine. The Falls are both majestic totaling 54 feet in height, and consist of 12-foot slide/horsetail, a 25-foot segmented waterfall, a 14-foot horsetail, and a 3-foot cascade, separated by pools. This provides the perfect subject for a grade wash lessons where tones blend from one value into another and one color hue to another. The rock here is among the most beautiful in the state and offers the painter a dazzling array of color transitions. This location is also one of the designated sites of the famed, "Artists Trail".

Michael says, "The beautifully colored Small Falls is dazzling right from the head of the trail as you cross the wooden bridge, giving you that full view of cascading twists and turns of grade valued water. I love the rich but luminous colors and the play of afternoon light on the rock and moving water of this 54 foot falls. "

This is a watercolor painted study made on location in Michael's pure and bold style of transparent washes. Michael uses a descriptive stroke that describes in mostly graded was he, lines of power, motion, and shape in describing Small Falls in August. He painted this study during one of his first watercolor workshops he conducted through the Rangeley Friends Of The Arts.
Michael also says, "I am intrigued with the timelessness in change in my paintings. They show a love of color and light with emphasis on the expressive painterly mark and form, which evoke a recognizable feeling, a nostalgic memory, or even emotional qualities such as the smell of salt and balsam in the morning ocean air."

"Sunset At Whip Willow Overlook, Rangeley, Maine" a watercolor on Arches 140 lb press 11 x 15 inches by Michael E. Vermette. The opening bid for this painting is $150.00. If you would like to place a bid on this painting CLICK HERE.

"Sunset At Whip Willow Overlook, Rangeley, Maine"

Michael E. Vermette captured this fresh plein air watercolor study just as the sun was setting at the Whip Willow Overlook in Rangeley, Maine. This famous view is one of the locations of the Artist's Trail. It features a public overlook with stunning views looking westward toward Rangeley Lake and Doctor's Island. Many visitors and locals alike take advantage of the large parking lot at the overlook to witness the amazing sunsets from this vantage point. This painting is one of seven paintings that he made during a 4-day watercolor workshop that he conducted through the Rangeley Friends of The Arts. Michael is using a wet-into-wet technique to increase the glow and luminosity of the light in the painting reminiscent of the watercolors of French painter Claude Lorrain and in particular his sunsets of Italy.
Michael says, "This painting was the last of a series of 7 paintings I painted that weekend on my Watercolor plein air workshop through the Rangeley Friends of the Arts. This painting was quickly rendered using a wet-into-wet approach that allowed me to mix directly on the page the exquisite colors of the sunset. I also like the luminosity created by the washes and the contrasting impression created between lost and found edges toward realism"
This is a watercolor study made on location in Michael's bold style of rich color mixed wet-into-wet on the page as used by expressive watercolors. These masters not only wet the back of their watercolor paper before painting but the front as well so they could begin to mix modes of color that translated into glowing color. Michael paints with a loaded brush filled with paint and larger brushes to do smaller areas as well. This painting has that beautiful light just before the afterglow that is so beautiful to watch. Michael uses a descriptive stroke that describes lines of power, motion, and shape in describing the character of this sunset at Whip Willow Overlook in Rangeley. He paints in a bold style that creates a soft-edged expressive watercolor that is emotional and depicts the rich tonal quality of the sunset. This painting does not come framed but is ready to set in beautifully in a plein air or floater frame for a lifetime of enjoyment as a jewel on your wall.
Michael also says, "I am intrigued with the timelessness in change in my paintings. They show a love of color and light with emphasis on the expressive painterly mark and form, which evoke a recognizable feeling, a nostalgic memory, or even emotional qualities such as the smell of salt and balsam in the morning ocean air."

Waxing Cresent Moon Over Crawford Notch NH

"Waxing Cresent Moon Over Crawford Notch, New Hampshire" an oil on cradled birch panel 11 x 14 inches by Michael E. Vermette. The starting bid price is $200.00. If you would like to place a bid on this painting CLICK HERE.

"Waxing Crescent Moon Over Crawford Notch, New Hampshire"

Michael E. Vermette captured this waxing cresent moon over Craford Notch in New Hampshire outside en plein and in sub-zero weather. In a day or two after every new moon, a slim smile of a moon, called a waxing cresent moon, appears in the west shortly after sunset. It was never a rising moon but a setting moon, as the Earth spins under the sky, all sky objects rise in the east and set in the west. This waxing moon in a westerly sky over Crawford Notch quickly followed the sun below the horizon with earthshine. This painting is a part of Michael's portfolio of Crawford Notch oil paintings from his artist-in-residency program at the AMC Highland Center.

Michael says, "This painting was an amazing visual to witness but brutal to paint. I set up in the snowy field near the northern bank of Saco Lake with bone numbing cold that dropped 20 below zero. I used a headlamp to paint by and painted as accurately as I could, although my fingers kept freezing in my gloves. I would have never have been able to pull it off if I used any solvents with my paint. My black oil wax medium actually thicken, but responded brilliantly to the cold, making it possible to actually paint under such harsh conditions.This is one of those paintings that exacted a price upon me as a painter that I judged worth taking the risk."

This is an oil painted study made on location in Michael's impasto style of thick strokes of paint on a solid alabaster stone-coated birch cradled panel, as used by the Italian masters. These masters totally left out the use of turpentine and other solvents because it dulled their colors and eventually caused them to crack.They also would freeze in sub-zero weather. They discovered that by mixing black oil wax medium to their oil paint it not only improved the viscosity of the paint, but it increased its richness and offered an amazing velvety sheen in appearance that would never crack. Michael makes his own Black Oil Wax medium through a very old Italian-Venetian formula and uses it in his oil paints to make them more impasto in his paintings, just as the Italian master's did. It is extremely archival. He mixes it with pure Williamsburg handmade painting pigments to the consistency of peanut better and it supports the integrity of every one of his expressive painterly marks that he doesn't try to hide in the painting.
As with other great impasto painters from Titian to Van Goah, Michael uses a descriptive graded against flat solid tones to describes lines of power, motion, and shape in depicting the atmosphere of this waxing crescent moon setting over Crawford Notch in New Hampshire. He paints in an impasto (thick) style using assorted palette knives and occasional thick loaded brush strokes and an Italian Black Oil Wax medium that he makes himself and that sets him apart from other artists. He adds this medium to the oil paint to not only increase the oil paint's viscosity but to actually preserve the character and luster of every stroke of the artist. It also improves the color to a brighter velvety semi-transparent glow. This painting is also painted on a highly prized Gypsum Gessoed (Alabaster Stone coated gesso formula) over a kiln dried birch panel that is cradled to never warp which he prepares himself. This painting does not come framed but is ready to set in beautifuly in a plein air or floater frame for a lifetime of enjoyment as a jewel on your wall.

HAPPY THANKSGIVING EVERYONE!

Holiday Sale Continues November 16th, 2020

11/16/2020 12:25:03 PM | By Michael E. Vemette | Comment on this

Art Spirit Newsletter Live Art Auction Sale November 10th, 2020.

11/9/2020 8:11:19 PM | By Michael E. Vemette | Comment on this

Bangor Art Society ART AUCTION

I have two paintings in this auction that I wanted you all to know about. The first is the watercolor above called, "Rocks and Surf, Monhegan Island". I painted this painting as a watercolor demonstration at the Farnsworth Art Museum while teaching a class on painting ocean rocks and surf. I also use the techniques I learned from my personal study of James Fitzgerald's techniques. It is painted on Arches 140lb cold pressed paper and matted with 100% cotton rag museum mattboard. It is framed in a quality Neilson metal frame and ready to hang on your wall. It has a staring bid of only $300.00, and it can be yours for 1/4 the actual worth of the painting's estimated gallery price! If you are inrterested in placing a bid on this painting CLICK HERE and place a bid by talking to the president Teddy Jan Covell or call: (207) 944-1986 by or on Friday, November 13th the day of the live auction.

The second painting (below) is, "Autumn Sunrise From the Summit of Black Head, Monhegan Island, Maine"

I painted this study to captured the sunrise from Black Head, on Monhegan Island on October 5th, 2020. Facing South at high tide the waves are rolling in from a storm that passed through the night. The sun is a welcoming brightness in the autumn ocean waters as the lobsterman, now in their 4th day of fishing from Trap Day, continue to toil over their traps. Trap Day is the day they began their lobster season around a 2-mile radius of the island. This painting is one of 74 studies that I painted over the summer, 29 of them as a part of my Monhegan Island portfolio. This painting depicts the highly treasured cool bright island light found in the early morning on Monhegan in the Fall. The vantage point is the highest on the island, over 160 feet above sea level, we're sea gulls fly past and below you. In this painting I went with a fairly high horizon line to include as much of the foreground as possible. Here I accent the shadows of the thick almost bonsai looking trees as they desend over the cliff, no doubt weathered by many direct storms. This painting is a pure painting filled with light that is a rare example of clean elements of nature in the usual dark waters of the Fall.

Rising early at 5 am in the morning, I hiked out to the summit of Black Head just in time to capture this small study of the brightest sunrise that occurred all weekend. It was the calm after the storm that passed through in the night as evident by the large rolling waves. But little wind prevailed with a promise of a beautifully sun filled day on the island.

This is an oil painted study made on location in my impasto style of thick strokes of paint on a solid alabaster stone-coated birch cradled wood panel, as used by the Italian masters. These masters totally left out the use of turpentine and other solvents because it dulled their colors and eventually caused them to crack. They discovered that by Mixing black oil wax medium to their oil paint it not only improved the viscosity of the paint, but it increased its richness and offered an amazing velvety sheen in appearance that would never crack. I make this medium myself and uses it in my impasto paintings just as the Italian master's did. It is extremely archival. I mix it with my pure Williamsburg handmade painting pigments to the consistency of peanut better and it supports the integrity of every one of my expressive painterly marks, capturing my very soul in the painting. To bid on this painting CLICK HERE and talk with our president, Teddy Jan Covell or call (207) 944-1986 on Friday, November 13th , the day of the live auction.

Bangor Art Society Business Statement:

The Bangor Art Society's inception dates back to 1875, when a small group of Bangor artists formed the Bangor Art Association for the purpose of promoting art and extending art education in Bangor, Maine with programs that stressed exhibitions of Arts and Crafts, Paintings, Photographs and Prints. The BAS has the distinction of being able to claim the membership of Marsden Hartley, who conducted painting classes for the society during the winter months sometime in the 1940's. Over the years membership has fluctuated, meetings have been held in various venues in Bangor, and its name changed from Bangor Art Association to the Bangor Society of Arts, to the Bangor Art Society in the late 50's.

What has never changed has been the purpose of the society. Then as now, we are dedicated to promoting art and encouraging the creative spirit through a variety of programs and events and scholarships to art students. BAS meetings, which often feature artist's presentations, are open to the public, and take place at 6 pm in the Bangor Public Library on the fourth Tuesday of the month except during the summer. As a non-profit association, some of our yearly events are the BAS All-Member show in February, the BAS juried show in May, the Annual Winter Auction in November, and a recent inclusion of what promises to be a spectacular summer community event: the Paint Bangor Day in the end of July that culminates in a silent auction. We welcome new members and new ideas, and take delight in the passion that fuels the creative spirit.

The 12th annual Yarmouth Art Festival Sale

I was able to sell all three of my watercolors in this Sale. The following is what they wrote about the event between the 19th and 31st of October.

12th annual show was a great success!
Thank you to all the artists and art lovers who made the 12th annual Yarmouth Art Festival a great success.

To be honest, we weren't sure it made sense to hold the event this year, given the pandemic. If we went fully virtual, it would mean investing in a new e-commerce system. Would artists enter? Would art lovers buy art online? The answers to both questions were "Yes!" Entries were down a bit from 2019, but still healthy at 515. And art lovers bought 64 pieces - many more than the 48 sold in our most successful prior year. Total purchases were $16,839.

The 30 percent commissions on those sales, along with entry fees - a total of about $8,000 - will go to three community service organizations: Friendship House in South Portland, Yarmouth Compassionate Housing Initiative, and St. Elizabeth's Jubilee Center in Portland.

The show catalog remains online to enjoy, although without sales. We encourage art lovers to contact artists (emails are on their profile pages) if they are interested in purchases, or to learn more.

We held a very informative panel discussion with jurors on Oct. 27, covering the Maine art scene, the jurying process, some favorites in this show, advice to artists, and other topics. A recording of the webinar remains on the website, and is well worth viewing.

The 2020 jurors were:

- Bob Keyes, arts writer for the Portland Press Herald/Maine Sunday Telegram
- Anne Haas, recently retired art librarian at Bowdoin College-
- Wes LaFountain, art curator, formerly at Greenhut Gallery in Portland, currently at Phillips Exeter Academy.

Maine artists entered 515 pieces, from as far south as Berwick and as far north as Caribou. Jurors selected 189 pieces from 107 artists, all presented in the Show Catalog.
A new e-commerce platform was used in 2020 for online display and purchase of artwork, along with an efficient no-contact process for buyers to pick up purchases in Yarmouth. Some artists offered shipping, to be arranged between the artist and buyer.

To stay informed about the 2021 show, simply go to the Yarmouth Art Festival website and "like" our page on Facebook. Please share this information with your art-loving friends!
Artists from all over Maine participate in this show, in media including painting, sculpture, photography, and limited-edition printmaking. The jurying process strives to curate a unique show of high quality and variety.

The event was created in 2009 to showcase Maine artists in painting, drawing, sculpture and photography.

The Yarmouth Art Festival is presented by St. Bartholomew's Episcopal Church, 396 Gilman Road, Yarmouth, Maine.

Questions? Email [email protected]

Hope to see you live this Friday online at 7 PM or in person at the Eastern Maine Development Center, 41 Harlow Street, Bangor, Maine on November 13th,

Michael E. Vermette