Art by Women Artists, Plein air painting, Wild Wheat and Red Wing Black Birds by Deborah Chapin

Description

See more information    https://gallery.deborahchapin.com/exhibition-history-of-35-years-in-paint-by-deborah-chapin/She now resides in Maine and is working on a new portfolio of work and commission paintings for select collectors in her private studio/gallery.  

Art by Women, Plein air painting, Dancing Wild Wheat and Red Wing Black Birds by Deborah Chapin. The original is 16×24 plein air oil painting.

This Plein air painting, The “Wild Wheat and Red Wing Black Birds” is part of the Plein air Series I did with wetlands. The original is 16 by 24.  It depicts the wild wheat that used to grow on the eastern shore before they eliminated all the tall winter wheat. The red wing black birds migrating for the season, would swoop in and eat the seeds from the wheat. This created graceful curves of wheat and wing, making them appearing to dance. Sometimes they would disappear in the brush and you would hear them cackling, then all of the sudden they would rise, en masse and create graceful curves of black across the sky, returning to the field once more to continue their conversation .

About the Wetland Plein air Paintings:

I painted 10 years in the Blackwater wildlife Refuge. I had continuous showings of these works each year as well as work from other locations.  In painting over 300 original oil paintings which included wetland grasses, birds of all types, and landscapes.  These pieces are elegant and yet the subject matter lends itself well to a rustic décor or country décor for the living room, dining room or lodge.  Add an antique chair or table and watch them both shine.

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About the Process of creating Original art:

I like to paint several smaller paintings, working myself up to larger work, as I learn the subject matter.  Gradually developing a portfolio which expresses the full character of the place.   Pemaquid Point is no different to than one of my favorite haunts in France.  It must be explored and appreciated and allowed to seep in at it’s own pace.  I think deeply and like to delve into the nature of the place,  learning the nooks and crannies and developing a deep appreciation of its beauty.   Instant gratification is not my thing.  I have never been someone who thought a cursory look at someplace even counted as having seen something.   This series of plein air and studio paintings are new work added to an already extensive portfolio of 40 years of art. Blue Dot Reserve

I invented the blue dot reserve for collectors who saw a painting at the show preview that they wanted to purchase, so that they could bring a spouse or friend to see the piece before purchasing.  The piece would hold for the first 15 mins into the show opening.   Blue dots were applied on a first come first serve basis.  Once the show started if someone else wanted to buy the piece the blue dot collector had the right to purchase the piece or the blue dot was removed and the next purchaser was free to purchase.  This eliminated a lot of acrimony when collectors are vying for the first dibs on paintings.

My first experience with this phenomenon was at the Greenwich Workshop Galleries shows during a “Of Ships and the Sea” exhibit when Graham Stiles was the director.   He had a number of collectors come in for an early preview for work and those collectors would be able to buy paintings during the preview.   While that’s great for the artist in the gallery it isn’t particularly fair to novice collectors who would be furious when at the opening they saw red dots.  So the blue dot eliminates this problem and everybody relaxes a little.   All is more fair and open and anyone can put their blue dot on a piece to hold it while they bring their spouse, aunt and uncle and whomever and that way they know they’re sure of their purchase.   A collector does have to buy it within the first 15 minutes of the show with a preview blue dot and collectors would come by and say is that painting being bought and if I call out and say who’s blue dot is this and they’re not there they lose out but they’ve been given a fair shot and most the time it works out really well for everybody.   Everyone gets what they need and they want and then the next round those collectors that didn’t come to the preview and put a blue dot on a piece are aware that they can do it and so then they do.

during my shows at the Audubon could also use a blue dot to hold a piece while purchasing.  it eliminated a lot of confusion and sell out shows made the artist happy.