Vermette-1-Winter View of the Headlands, Monhegan

Winters Headlands, Monhegan Island

an oil on Gypsum Gessoed panel 12 x 16 inches by Michael E. Vermette

On Wednesday, February 19th, 2014 I arrived on Monhegan Island with my Plein Air Connection friends by 10:30 am. After quickly unpacking, I headed out with my fellow artist photographer Troy Sands to White Head. I was encouraged to see what the the amount of snow was on the headlands after viewing the great amount of new fallen snow on Manana. As the coördinator of the Plein Air Connection painting group, I had been planned this trip for about a year and a half. My original idea was to coördinate a group of artists to come toMonhegan and who would have an opportunity to paint views similar to what inspired me. Four years ago in February, I painted this view of the headlands. There was no snow on the island then and it began to snow almost immediately upon starting to paint. Back then I would just go over by myself. But today no one can rent rooms in the winter on the island unless you are a fisherman. I use to rent a room at the Hitchcock House or the Tribbler Cottage on the island. In this arrangement I had to put together at least six painters who would be willing to pay forward, without a refund, the total cost for rent for at least three apartments at the Shining Sails before the owner, John Murdock, would even consider it. So needless to say, coordinating a trip like this is not an easy task out of season. 

So It is an understatement to say that I was chomping at the bit to get one more opportunity to paint the headlands with snow on them in February. My friend Troy took the lead and I showed him where to go. I walked in his footsteps as he broke trail with snow 18 to 20 inches deep in the open areas. The going was rough and slow as we both were carrying heavy packs that held our art equipment. We were wearing snow suits and were both sweating bullets When we finally reached Whitehead's summit. Once there we were met with a cold driving wind that made us glad that we were dressed warm. Troy is a panorama photographer and so was completely amazed at seeing the view of Burnt Head and Gull Rock from Whitehead. So I left him to his work as I continued down the 1-A trail down to a my favorite view of Little Whitehead and Black Head from Whitehead.  I too was fully amazed at the amount of snow that was on these headlands. Subjects like these can give you a sort of second wind. I found my site almost completely out of the cold wind when i traveled eastward down trail 1-A. This headland view had a hauntingly stoic look with its limited color palette and high contrast of dark and light values.

On the cliffs you really had to be careful to dig in with your feet down now and then down to the grass or rock, or  else the sheer standing in one place at any length of time would cause ice to form and you could slip and lose your balance. I wore my sorrel boots that I use when snowshoeing. When you are setting up in these conditions everything takes more time and is simply more difficult. I had to tighten my tripod, but other than that and painting on a sloping hill, my French Resistance paint box went up without any problems. I positioned myself in the most level spot that I could create for myself. But I still would slip now and then making me kick into the snow for a better grip as a horse stomping the ground with its hoof. 

I decided to use the Andres Zorn palette because the day became more and more moody and overcast. I used Titanium White, Yellow Ochre, Cadmium Red, Ivory Black and a little Ultramarine Blue that I suspect Zorn also used in the skies of his landscape oils. The snow on the headlands reflected a brighter white tone than the white sea-foam that continually ungulated and reached up the craggy coast. the other delightful thing that I noticed is that the small dense trees all had icicles hanging on them like ornaments on a Christmas tree.

Many people don't realize that the highly prized gypsum panels that I use allows my paint to stick on the surface like water to a sponge. My Black oil wax medium also adds some extra tack. It is my belief that preparing archival surfaces and mediums not only create paintings that will withstand the test of time, but they also aid to brighten color and improve adhesion. These methods and materials have already stood the test of time in masterworks such as in Rembrandt's paintings and those of Rubens. When my panel get a little wet with snow or rain, it's actually no problem. This method helps you to paint on a wet surface. There is no acrylic gessoed surface that can do that. The Black Oil Wax medium that I use I mix up to 50% to my oils to add a semi-transparent luster to them, increase the color, and increase the tack of the paint to the substrate.

I paint making an effort to eliminate as many of the usual distractions as I can. This is so that when I am on the location, I can concentrate better the process of painting. The same is true about my Guerilla Wet Paint carrier. It works well to protect my panels to the point that I never allow myself to feel like I "Have" the painting until it's in the box. Only then will I break down, clean my palette and palette knives and fold away my easel. 

I like many things that the new fallen snow and the dark dramatic seas and sky create in a painting. These skies were unexpected and dark like rocks in the sky. There was a terrific amount of snow that contrasted the dark rocks in value. For the foreground I tried to create weight  as with the clouds in the sky. For the whole weekend of painting, this picture was the most fulfilling, partially because of a longing and because of the power in value and limited color. This picture was one of my favorite. But being in this place for such a time as this was even more spectacular that I can ever imagine.