ART SPIRIT Newsleter
September 8th, 2020
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"Full Moon over Lock Dam, Allagash Wilderness Waterway" a watercolor on
vintage Whattman 11 x 14 inches by Michael E. Vermette.
PAINT WITH TWO HANDS ON THE PRESENT
"A man possessed of an idea, working like fury to hold his grip on it
and to fix it on canvas may not stop to see how he is doing the work;
nor may he consider what might be any outsider's opinion of it. He must
hold his grip on the meaning he has caught from nature, and he cannot
grope for ways of expression. He is immediate. The idea is fleeting. He
must have technique - but he can now use only what he actually knows.
At other times he has studied technique, tried this and that,
experimented, and hunted for the right phrase. But now he is not in the
hour of research. He is in the hour of expression. The only thing he
has in mind is the idea. As to the elegance of his expression, he
cannot think of it. It is the idea and the idea alone which possesses
him, and because it must be expressed, because he has need to express
it, he makes a great draft on his memory, on all his store of knowledge
and past experience, and all these he regulates into service. if later
we find that there was elegance in his expression, that there was
brilliant technique, still he was not aware of it at the time of its
accomplishment. It is only the sign of the success of his effort to
recapture all his knowledge and make it work for him at a time of great
need. He was not conscious of his gracefulness, for it was only a
result of his high state of order to which he raised himself." - Robert
Henri
Back in the July newsletter I promised to share my insight on how I am
working out the four steps of my residency plan of the Allagash
Wilderness Waterway at Lock Dam on Chamberlin Lake. I am back home now
from the residency and settling in to my regular routine but still
dreaming I'm at Lock Dam needing to do just one more painting. I am
recovering from knee problems due to standing through hours of plein
air painting, hiking and portaging up and down streams without a lot of
rest in-between. I have also injured my shoulder, losing my balance and
tripping over my luggage, of all things, that surrounded my feet like a
four walled barrier. With just a few chiropractor appointments behind
me and several more to go, I am actually recovering well. The same can
be said about my truck that almost lost it's right muffler due to the
rough terrain. if it weren't for the clever bush fix of my good friend
and professional photographer, Troy Sands, whom I am very grateful for,
I might have lost it all together. But even that is fixed now with all
the dirt washed off that gave my red truck the appearance of being
desert gray in color. The Allagash Wilderness Waterway visiting artist
program was an amazing wilderness privilege that demanded a price I was
more than willing to pay for. The "Race" I set forth for myself as a
goal has caused a powerful attachment to me for this place through my
art. I accomplished my goal of painting 51 paintings in just two weeks.
That is an average of 3 to 4 paintings per day. I painted 26
watercolors and 25 oils that are being photographed and catalogued
currently. It's causing me to do a lot of reflection.
I also taught the first watercolor plein air workshop in the Allagash
at Nugent's Camp. It was was very successful first workshop that drew
artists from all over Maine.
But in this newsletter I want to talk about attachments artists
sometime have toward their art and how that can get in the way of
production. I want to entertain the idea of how artists release their
art as you make it in order to consistently create a large body of work.
In this special edition I will focusing on the Third step essential to
being a productive plein air painter in a residency like this one. And
that is,
3) Painting with both hands on the present.
I began this newsletter by sharing a quote from Robert Henri's book,
The Art Spirit, that not only accurately describes what it is like to
paint en plein air or from direct observation, but eludes to this idea
of being caught up in a high state of order which the artist has raised
him or herself to. What is this high state of order that produces
elegance that even the artist may not be aware of in their art
production? I believe it's the ability to be present with all your
faculties and paint in the moment of expression. Although it has to do
with drafting all your past experiences, experiments, and painting
knowledge, I believe they are called forth by a greater need to respond
and make art in the moment. These experiences are relegated into the
service of being fully present to the painting idea at hand.
Think of it this way. In order to do this you have to completely
release the grip you might have on previous paintings you recently
finish or not, in order to have both hands on the present. No matter
how many good paintings that you have done in you recent past or how
many failures, you have to release them in such a way as to get them
visually and thoughtfully out of your mind in order to reach this clear
vision and high state of order. The ability to focus on the painting
totally in the moment. It has been said, and it couldn't be truer, that
"Today separates your yesterday from your tomorrow".
The one thing that I have done when I set a goal for painting 50
paintings in the Allagash Wilderness Waterway in two weeks was to store
them away by boxing them up at the end of each day. Then I would forget
about them but not the location or the amount of paintings I needed to
do to keep on track. When I got back to the studio sometimes three
weeks later for some of them, I was pleasantly surprised at what I had
accomplished and I could see with fresh eyes just how effective the
paintings were visually. I also couldn't really remember the battle or
the struggle I went through in making them.
This temporary disconnect from all attachments to your painting is so
important when painting a large body of work in a short time. In fact I
believe that if I failed to do it, I might have lost the opportunity
for the higher goal of capturing the true nature of that sense of
place. And for me it was and is the Allagash Wilderness Waterway.
Painting with clear vision is the ability to go from one painting study
idea to another without thought or memory given to the previous one.
Like Robert Henri spoke of, It's the "High State Of Order" that is
important in all excellent plein air painting production and not a
matter over thinking a formula to achieve a predictable masterpiece in
the end. It was a choice I made each day with each painting, the very
act of raising myself up to fully engage in each present work.
James Fitzgerald, the painter that I like so well, once was quoted to
have said, "Nothing Fails Like Success!" He made every effort to avoid
recognition. What an interesting thing to say and do. So why did he do
that? I believe it was because he knew that if he could not let go of
past accolades and accomplishments he would not have enough room to
receive what he needed to capture exciting ideas that presented
themselves today in the moment. It is amazing just how past failures or
even great successes can keep you from painting your best most present
work. And we all have that choice to go with the engaging idea or the
familiar that has given us past success. I believe the great painters
of the world's art in history were always so caught up in simply
receiving visual information, that they didn't always have time to
actually see how eloquently amazing they were in actually pulling it
off. This is why and how rewards and great blessings will always follow
the high state of order executed by the intense artist.
Painting out of need in your hour of expression is key for reaching
your goal tomorrow. Just as a fantastic visual idea can not come when
you are not open to receive it, so too can you not capture an original
idea with a hand holding onto your past. To paint with clear vision you
must have both hands on the present and be fully focused on the work at
hand; that is simply the highest state of order.
Interesting enough, this practice of paint and release in plein air
creates a better connection and spiritual bond to the nature of that
place you are trying to capture than laboring over too much detail. In
fact it works more effectively and is more inspiring than physically
trying to create a body of work by building one controlled experience
upon the next. When you paint with both hands on the present you will
also be able to better hold a tiger by the tail, meaning tackling
painting that seem difficult or complex.One of the most interesting and
beautiful effects to witness in any plein air painting is just how the
artist simplifies a convoluted subject. And in the Allagash there are
many, many amazing subjects that feel just like that. The challenge of
painting them is beautiful to see in any painting medium and always a
delightful surprise to the viewer.
I challenge you to paint with both hands today,
Michael E. Vermette
PAINT FOR PRESERVATION 2020
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This year has been very exciting for the artists who were chosen to
participate in the Cape Elizabeth Land Trust's "Paint For Preservation
2020", plein air art auction. One week after returning from the
Allagash I painted a very large plein air painting of Two Lights State
Park and the storm surf. It was as if the many small studies that I
painted up to this point were a preparation to finally release on a
much larger scale. And that was what I did.
We all practiced social distancing and wore masks, but for the most
part we were never around large groups of people who either gave us
space or just left us alone to paint and all wore masks themselves.
What I missed most was the social aspect of seeing all of the 30
artists with their paintings in hand who were chosen for this event.
These works have recently been posted online this week for everyone to
view.
Michael Vermette (1)
"Storm Surf at Two Lights" an oil on heavy linen 35 x 44 inches by
Michael E. Vermette.
To view the paintings in this year's auction CLICK HERE.
I also painted 4 small painted oils on panel for the online Mystery Box
sale; painted just the week before my residency at the Allagash
Wilderness Waterway.
IMG_2935 (1)
"Surf at Two Lights State Park" and oil on panel 8 x 10 inches by
Michael E. Vermette.
IMG_2933 (1)
"Zeb Cove Point" an oil on panel 8 x 10 inches by Michael E. Vermette.
IMG_2932
"View of John Cove" an oil on panel 8 x 10 inches by Michael E.
Vermette.
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"View of Richmond Island from the coast of Two Lights State Park" an
oil on panel 8 x 10 inches by Michael E. Vermette.
On August 28-30 the artists descended upon their pre-chosen locations
to paint en plein air their beautifully inspired ecological ideas of
Cape Elizabeth's landscapes and seascapes. There were thirty
award-winning artists represented that people could tour around the
Cape Elizabeth painting sites, meet the artists and watch them work.
On Saturday and Sunday September 12th-13th Paint for Preservation
Auction Goes online for bidding live. I encourage you to check out this
year's quality work, join the celebration to bid on the new paintings
or buy smaller Mystery Boxes by weekend's end. For more information you
can visit: capelandtrust.org/paint
or call
207-767-6054.
As one of the featured artists in this year's auction, I was asked
along with all the rest to make a video in support for Celt's Paint For
Preservation's Auction. I thought of how amazing the judges have been
every year for the artists and how CELT has not only been helped by our
paintings but how they have helped us as painters in one way or another
in our own careers. So I made a video of how CELT helped me get my
start in the Gleason Fine Art gallery, chosen as this year's Maine's
number one gallery! Check it out my short story of how Marty and Dennis
Gleason, the owners of the Gleason Fine Art Gallery and CELT got me my
start in their Boothbay Gallery in Maine.
Video Link
My connection story of CELT Paint For Preservation & Gleason Fine Art.
NEW ENGLAND WATERCOLOR
NORTH AMERICAN OPEN EXHIBIT 2020
VERMETTEMICHAELCaptains Muse Monhegan Island Maine
"Captains Muse, Monhegan Island, Maine" a watercolor 19 x 25 inches on
vintage Whatman handmade watercolor paper by Michael E. Vermette.
Also I'm very happy to inform everyone that my watercolor painting,
"Captain's Muse, Monhegan Island ME" was selected by juror, Paul
Jackson for inclusion in the New England Watercolor Society's North
American Open Juried Exhibition 2020. I'm told by submission chair
Steve Hamlin, that this was a very competitive selection process, with
only 80 out of a total of 612 paintings (270 artists) were accepted.
The details of the reception, originally planned for in the Russell
Gallery of the Plymouth Center for the Arts in Massachusetts on
November 1st, will likely need to be adjusted to comply with
state-mandated capacity and social distancing requirements. For the
latest information please check the NEWS website for the latest updates
as the opening date approaches by November 1st to December 5th, 2020.
You can also check it out at this link by PRESSING HERE!
Have a great week being present to your visual ideas,
Michael E. Vermette
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