Upcoming Gallery Events

SATURDAY, SEPTEMBER 3rd, 6 - 8 pm

Please join us at the opening reception for the ART & EDUCATION IN MAINE EXHIBITION featuring Gallery at Somes Sound artists Judy Taylor along with her traveling fellow artists;  Aled Lewis with his students from CFC: Heide Martin, Brendan Yi-Fu Tay and Andrew Messa; and Brian Reid instructor of the Maine Prison Outreach Program.  

SEPTEMBER 1st - OCTOBER 31st

Featuring ARTIST JUDY TAYLOR with fellow artists at the French Pyrenees, painting figuratives in the landscape; FURNITURE MAKER ALED LEWIS, Instructor at the CENTER FOR FURNITURE CRAFTSMANSHIP; FURNITURE MAKER BRIAN REID, Instructor of the MAINE PRISON OUTREACH PROGRAM (A Division of the American Furniture Masters Insitute)

Art & Education in Maine

https://www.youtube.com/watch?v=C9LzQLFVxwM  View Video of Judy Taylor with two students who traveled with her to Pyrenees....

Art & Educaiton in Maine

The Center for Furniture Craftsmanship in Rockport teaches furniture makers of every skill level, offering a host of community classes, workshops, intensive courses and fellowships. Classes are guided by the Center’s Lead Instructor Aled Lewis, a professional furniture maker with more than 35 years of experience.

Art & Education in Maine

https://www.youtube.com/watch?v=s7xOptE2ufU View video of Tyra Hanson and Brian Reid discussing the Prison Outreach Program Exhibition

In 2012, Rockland, Maine-based Furniture Master and Gallery at Somes Sound artist Brian Reid introduced the Prison Outreach Program to this state, introducing fine furniture making into the Maine State Prison Industries Program in Warren. A committed artist-educator, Reid currently teaches approximately six months per year and spends the other six months making his own furniture. He brings nearly two decades of experience to the table, having taught since his artist-in-residency days at Colorado’s Anderson Ranch Arts Center in 1997. In the intervening years, Reid has trained students extensively both here and abroad. His experience stateside includes Maine’s own Center for Furniture Craftsmanship, Penland in North Carolina, San Diego State University, and the University of Wisconsin-Madison. Reid has also led courses internationally in Australia, Scotland, New Zealand, and Colombia.

July 9th - October 31st

Featuring Furniture Makers David Lamb and Judy Kensley Mckie.  

Acadia through a Furniture Maker's Eyes

Self-taught as a furniture maker, Judy Kensley McKie’s [b. 1944, Boston, MA] name is synonymous with the most highly regarded and original work to come out of the American Studio Furniture movement. Trained as a painter [Rhode Island School of Design, 1976],

Acadia through a Furniture Maker's Eyes

New Hampshire-based artisan David Lamb [b. 1958, Laconia, NH] is recognized as one of the most gifted American furniture makers working today. Characterized by exquisite craftsmanship and extraordinary creativity, Lamb’s signature style is a unique blend of period forms, Shaker sensibilities, classic re-interpretations and contemporary influences. His latest commission, Four Seasons of Acadia, is a commemorative piece for Acadia National Park’s 2016 Centennial Celebration and a beautiful example of the artist’s breathtaking facility in manipulating wood to create an aesthetic that is visually arresting and utterly engaging.

 

July 9th - October 31st

Thomas Cole, Frederic Church and Fitz Henry Lane Interpretations:  Featuring Contemporary Artists, Diana Cobb Ansley, Scott Baltz, Eline Barclay, Robert Clark, Donald Demers, Anne Ireland, Ernest McMullen, Donald Rainville, Judy Taylor, and Peter Yesis

 Diana Cobb Ansley, In Reverence to Lane, 20”x30”, oil on linen
Acadia Centennial Collection

I have always been drawn to Fitz Henry Lane for his use of light. His paintings are ethereal and capture the quiet stillness that happens when the wind ceases and the dawn or dusk unfolds. In those moments, I perceive the beauty of Mount Desert more deeply. The Entrance to Somes Sound has a special meaning for me as my ancestor Abraham Somes sailed up the Sound to settle in Somesville. I spent two nights last summer scoping painting locations in Manset with Lane's painting in mind so I am thrilled to have this opportunity.

Scott Baltz, Otter Creek after Church, 20”x24”, oil on wood panel
Acadia Centennial Collection

I decided to work from Frederick Church’s, “Otter Creek, Mount Desert, 1850”. Firstly, I was drawn to the subject area of Otter Creek as it was not an area I had previously painted. Secondly, I was intrigued by the nearly barren granite mountain tops, so unlike today. It was especially important that I relay the warm atmospheric perspective as portrayed in Church’s rendition, while making the new version true to my own vision. The process of taking a masterwork and making it my own was rewarding and full of challenges.

Eline Barclay, Last Light From Cadillac Mountain, 24”x48”, oil on linen
Acadia Centennial Collection

I see my Connection to Church’s painting, “Sunset”, in several ways . First of course, would be the location, Mt. Desert Island, an area of extraordinary natural beauty and the inspiration of artists from the 19 c to present day. Secondly, I identify and respond to the elements of emotion to Churches work. His paintings evoke a sense of spirituality and peace. As a contemporary landscape painter , I see the natural world as threatened - this gives my work a sense of elegy.

Robert Clark, Entrance to Somes Sound, Westy's Way, woodblock print
Acadia Centennial Collection

I chose Fitz Henry Lane’s Entrance to Somes Sound from Southwest Harbor because I wanted to do an allegorical study in blue. Goethe described blue as “a kind of contradiction between excitement and repose… we love to contemplate blue — not because it advances to us, but because it draws us after it.” Lane masterfully employs the big blue sky of his piece as an artistic trope to that effect. The negation of wind quantifies an uncanny stillness and evokes the bucolic serenity of Tom Sawyer-era America. It is a resplendent frontispiece of a bygone age.

Donald Demers, Acadia Surf, After Frederic Church, 16”x20”, oil on mounted linen
Acadia Centennial Collection

I have been enthralled and inspired by MDI and Acadia National Park since I was first introduced to the area as a teenager.  The profound landscape and evidence of time immemorial with it’s geological evidence of the ice age and a moving, evolving earth draws out a sense of timeless eternity. This is only heightened by the seas that surround the peninsula and the ongoing dialogue between land and sea.  

Anne Ireland, Otter Creek, 18”x20”, oil on canvas
Acadia Centennial Collection

I chose to reinterpret Church's painting "Otter Creek, Mt. Desert". As a somewhat reluctant marine painter, I am drawn to hills,mountains, fields and the warmer palette. “Otter Creek" was right up my alley. I enjoy the scale of the mountains to the tiny figure on the shore that clearly illustrates Church's view of the predominance and majesty of the landscape in comparison to those that inhabit it.

Ernest McMullen, Lifting Fog at the Entrance to Somes Sound, 41" x 41", oil on board
Acadia Centennial Collection

In 1852 Fitz H Lane, the great luminist master, painted Entrance to Somes Sound from Southwest Harbor.  Now, 164 years later, Gallery at Somes Sound Director, Tyra Hanson, suggested that those painters who show at her gallery revisit some of the sites that were immortalized by the great luminist painters who blessed our island with their genius.

Donald Rainville, Interpretative Sunset, 32" x 47", oil on panel
Acadia Centennial Collection

My choice of recreating the Frederic Church work “Sunset” was inspired by my own experiences living on the coast of Maine and seeing so often the magnificent sunsets filled with rich ambers, golds and orange muses beneath crisp blues and lavender. Recreating this work in my own style of action painting without using brushes was quite different from my typical focus on trees and others forested landscapes. One of the things I enjoy most in my treescape works is the creation of background and sky which precedes the actual foreground of my paintings.

Judy Taylor, Newport Mountain after Church, 16" x 20", oil on panel
Acadia Centennial Collection

I love detective work. I particularly like engaging others in the game so when I selected this Frederick Church painting, Newport Mountain Mount Desert Island, I sent the image to other like minded individuals (sailors, hikers, inventors) and they got to work. My sense of direction is lousy but these navigators are good and they know how to use google maps and they have excellent instincts. We went to Compass Harbor, Great Head but the consensus ended up on private property.

Peter Yesis, View Across Frenchman Bay After Thomas Cole, 30”x42”, oil on canvas
Acadia Centennial Collection

I’ve drawn a great deal from Thomas Cole in the development of my own artistic style and I share his love of the Maine coast as subject matter. It was both a privilege and a challenge to capture the spirit of Cole’s original painting in my own rendition of “After A Squall”.

On Sale at The Gallery beginning July 9th

~~Art of Acadia by David and Carl Little. Published by Down East Books in conjunction with the 100th anniversary of the founding of Acadia National Park, the book highlights the artists who have been inspired by the landscape of greater Mount Desert Island, including the Cranberry Isles and Schoodic Point, from the early 19th century to today.
 

Also on Sale beginning July 9th

~~Acadia National Park:  A Centennial Celebration, Photography by Tom Blagden Jr., Essays by Christopher Camuto, Christopher Crosman, Dayton Duncan, David Rockefeller Jr., David MacDonald, Sheridan Steele, and W. Kent Olson in association with Friends of Acadia.  Published by Rizolli International Publishing.  Acadia National Park:  A Centennial Celebration brings home the contrasts of pounding ocean and silent coves, bald mountain summits and deep forest valleys, as never seen before. The essays convey the unseen story of Acadia: its history as a national park (the oldest national park east of the Mississippi); the critical and philanthropic role of the founding families in its creation; the past and current importance of private stewardship; and its status as a unique park forged in a particular time and place in history.