Surf Painting, Pemaquid at Noon, 12×20 plein air oil by Deborah Chapin


Surf Painting, Pemaquid at Noon, 12×20 plein air oil painting by Deborah Chapin.  I was painting with the Plein air Painters of Maine off of Pemaquid Point last week. Beautiful day painting at mid day which I never do. Read More

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Tip:  For the AR on your wall – stand about 8′ from the wall for accurate sizing of piece and/or mask the size on the wall with painter’s tape and fit the image within the tape

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Did You Know Did You Know? That with just inflation a painting:
  • in 1982 that was sold at $600,  in 2020 is worth $2375?
  • in 1984 that was sold at $2500, in 2020 is worth $8625?
  • in 1987 that was sold at $7000, in 2020 is work $21783
This doesn’t account for anything but the value of the $ and nothing added for a lifetime of professional experience and worldwide exhibition history. Description Description

Surf Painting, Pemaquid Moon, 12×20 plein air oil painting by Deborah Chapin.

Surf Painting, Pemaquid Moon, 12×20 plein air oil painting by Deborah Chapin.  I was painting en plein air on a very windy spring evening off of Pemaquid Point. Because of the cloud cover I didn’t expect to see the moon but then suddenly it was there.

I painted out on Pemaquid Point LIVE with the Plein Air Painters of Maine combining both the live painting and also participating in the day at the same time. I was a little late because I had a zoom meeting in the morning.  I did a live session and this is the piece that resulted.

I often say that painting is like meditation you look at the surface then you look deeper than you look deeper then you look deeper and you get a greater understanding as you go. And not everybody is at the same level and that’s OK.

It’s also a metaphor for life in general. First you look at the big picture and you can see all of the ocean and all of the sky and the rocks and then you break it down into smaller and smaller parts. Color and line and the composition and the way you want to focus your attention. And then you start working on the niggly details which would be like the tasks you would probably have in your day-to-day life but if you concentrate solely on the little niggly details you miss the big picture.

Notes on the day: The parking lot was completely full, people were having picnic lunches and sitting on the rocks and watching the ocean. I slipped in between a couple of other artists who were already painting on the rocks. I didn’t interrupt them. It was a beautiful day as you can see and perfect weather couldn’t have asked for better. Light breeze and Cool air and yet warm enough that I didn’t have to wear my jacket. A lot of people milling around. Contact Us About This Piece if you have questions, please include the title in your subject line.

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.


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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.

How to use the AR On Product Pages

Deborah Chapin’s Marine paintings have a long exhibition history starting with American Society Marine Artists in 1980 at the now defunct Grand Central Galleries in NYC.   As an Independent artist since embarking on her career she has exhibited extensively in top shows and Museums including: Grand Palais and Carrousel de Louvre in Paris with the Societe National des Beaux Arts, Mystic Seaport Gallery International since it’s inception in 1982, Of Ships and Sea Exhibits at Greenwich Workshop Gallery,  Artist of America Exhibitions Colorado Historical Museum, Ketterer Kunst Auctions, and Lectured on plein air painting at the Smithsonian American Art Museum just to name a few.      At the time of her debut she was one of two women in the national exhibitions of Marine Art.   See more information    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.  

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Dimensions 34 × 21 in


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