EDGE OF THE SEA #2

                                                            acrylic on canvas, 30 x 40"
     
Our family is pleased to announce the donation of Dad's painting, Edge of the Sea #2 to Laboure' College in Milton, Massachusetts.  This donation, like several others before it, was facilitated by the wonderful agency, The Art Connection, which provides Boston area non-profit agencies with a storehouse of art to choose from.  Thank-you to everyone who made it possible for this painting to hang in a public setting and be enjoyed as it was meant to be.  A letter from Laboure' Colleges says this work "will help with bringing inspiration and life to our students on a daily basis."

Provincetown Art Association and Museum Donation

We recently donated this painting, Day into Night, to the Provincetown Art Association and Museum, also know as PAAM.   The painting is probably from the 1980's and used to hang to the left of the fireplace in Mom and Dad's living room in Harwich.  As Dad had been a long-time member of PAAM and participated in several of their annual artist-member exhibits, I know he would be proud to be represented in this collection.  The collection includes work by William Zorach, Wolf Kahn, Franz Kline, John Singer Sargent, William Merrit Chase and other luminaries of American art.

Sunset on Cape Cod Bay

This rosy painting has no name, so I have given it one, Sunset on Cape Cod Bay.  It's 38 x 48."  Dad usually titled his paintings on the canvas where it wraps around the stretcher, but I couldn't find anything on this beauty except a label from an exhibition at the Rockport Art Association, unfortunately not dated.   Even with its predominant rosy reds, this painting has a stillness that evokes the end of the day.

Abstracting the Landscape

In this large landscape, one of my favorites, Dad succeeded in painting a marvelous tapestry of abstract color that also evokes the sand dunes of Cape Cod. Most wonderful is the turquoise high on the left that is obviously painted over/after what lies beneath it, and yet stands for a distant inlet of water. To the viewer, it is seemingly both close and far away, both floating above the picture plain and also obviously a flat stroke of paint.

One of Dad's practices was to turn a painting over, and even on its side, to test the validity of the composition from all directions. It had to "work," as he put it. In my mind's eye, I can see him turning this painting and finding it good.