34th Annual Button Factory Open Stiudios (December 3-5, 2021)
Im excited to announce that Ill be opening my studio for 15th time in the 34 years the Button Factory Artist studios have been hosting this three day holiday event. Ill be exhibiting fifteen new oil paintings and taking registrations for som e new classes and workshops for 2022.
To be clear, my studio at the Button Factory is where I make the paintings, not to be confused with my gallery on Ceres Street in Portsmouth. Come by and visit more than 50+ local artists. Be sure and stop by studio A100 and say hello to myself and my studio partner, oil painter, Frank Hyer.
Studio A100 is the first studio on the Button Factory tour. Take a left into the courtyard before you enter the building and you will see our studio entrance. Hope to see you.
34th Annual Button Factory
OPEN STUDIOS
December 3 -5, 2021
Friday Evening 5-8pm
Saturday & Sunday 11 - 5pm
To be clear, my studio at the Button Factory is where I make the paintings, not to be confused with my gallery on Ceres Street in Portsmouth. Come by and visit more than 50+ local artists. Be sure and stop by studio A100 and say hello to myself and my studio partner, oil painter, Frank Hyer.
Studio A100 is the first studio on the Button Factory tour. Take a left into the courtyard before you enter the building and you will see our studio entrance. Hope to see you.
34th Annual Button Factory
OPEN STUDIOS
December 3 -5, 2021
Friday Evening 5-8pm
Saturday & Sunday 11 - 5pm
HOLIDAY EXHIBITION Nov 13, 2021 - Jan 14, 2022
Join us for our annual Holiday Exhibition featuring more than twenty national and local painters. The show will be up throught the holidays and New Year and feature new works by Todd Bonita, Donald Jurney, Stan Moeller, Alastair Dacey, Chris Volpe, Karen Blackwood, Dennis Poirier, Mikel Wintermantel, Daniel Corey, David and Pam Lussier, Hillary Scott, Sam Vokey, Tim Horn, Kevin Beers and many more.
Opening reception
Saturday, November 13, 2021, 5-8pm. Todd Bonita Gallery, 39 Ceres St. Portsmouth, NH
Opening reception
Saturday, November 13, 2021, 5-8pm. Todd Bonita Gallery, 39 Ceres St. Portsmouth, NH
CRITIQUE CLUB November 09, 2021
CRITIQUE CLUB
we paint every Tuesday from November through May. $300 for 8 weeks, $50 drop in. Limit 10.
What: Critique Club
Where: Todd Bonita Gallery. 39 Ceres St. Portsmouth, NH
When: 12:30 - 4:30, Tuesday, November 09, 2021
What to bring: painting supplies.
Parking: Hanover Street garage or meters. (Drop your gear off at my gallery first if you wish, park and then walk back).
Bathrooms: Free at my gallery
Other: Come in, set up, paint for three hours independently. One hour group critique 3:30 -4:30 with Coffee & treats.
LINK to: CRITIQUE CLUB
Todays Painting: Fog above the river by Vladimir Kirillov
What we can Learn: Muscle Memory
Finish this quote….“ If the glove don’t fit…”
If you are old enough to remember the O.J. Simpson trial from 1995, you may have guessed the correct answer:....
“ If the glove don’t fit, you must acquit“.
O.J.’s Lawyer, Johnny Cochran was aware of the psychological phenomenon of repeating something seven times for it to find its way into the deep recesses of memory recall. He deliberately repeated this phrase to the jurors, knowing it would leave an imprint on them while processing deliberation. Did you guess correctly? If so, thank your hippocampus in your brains temporal lobe because that was 26 years ago!!!
Cultural history aside, I’m interested in this as it relates to painting and your brains ability to comprehend the elements of picture making and perform painting tasks efficiently through repetition. Muscle memory involves consolidating a motor task like painting and putting it into memory through repetition. When an action is repeated consistently, a long-term muscle memory is created, ultimately enabling you to perform it with little to no conscious effort. This process decreases the need for attention and creates maximum efficiency within the motor and memory systems. Therefore, it makes sense to get the best training you can as early as you can so that when you practice, you are practicing the right way and NOT building muscle memory for bad painting habits.
Academic truth #73:
“Good painting is not a result of stacking new techniques on top of more techniques, rather, it is a result of learning a smaller number of academic truths and practicing them over and over again, developing muscle memory in those areas of efficient and practical picture making.
Im grateful to have learned painting through repetition and unapologetically teach it that way. Any one of my students who have studied with me for a year or more could likely use repettious understanding to breakdown this Vladimir Kirillov painting by telling me why it works using our standard, “ 7 Elements of picture making checklist”. Let’s bang it out…..
1) DESIGN: solid and simplified design using radiating - diagonal lines that lead your eye to the fog above the river on the upper third of the painting, left of center.
2) VALUE: Squint and you’ll see a simple plan of three value families; (1) Light sky and water, (2) Mid-tone landmass on the left bank, (3) Dark large, unbroken mass of all of the trees and their reflections in the water.
3) DRAWING: Effectively using line with a variety of edges in the trees, landmass and reflections; soft edges to recede and harder to come foreword, Lost and found edges to convey mystery in the fog. His use of descriptive, natural textures in the grass on the foreground left bank comes forward and juxtaposes the simplified, less textural middle ground and background tree shapes, almost silhouetted by comparison. This sits them further away in space.
4) SHAPE: Squint again and you will see this is really 4 large masses on canvas. Sky, water, All the trees and the reflections are one mass and finally, the small riverbank shape on the left. Five or fewer major shapes makes for a stronger composition.
5) COLOR: Balanced, minimal, earthy and cool neutral greens dominate in this analogous color scheme. In keeping with good academic decisions, note the most chromatic color on the left bank in the foreground comes forward, while the neutrals recede. It also happens to be the warmest green. Warms come forward and cools recede. Check marks all around.
6) HIERARCHY: your eye first goes to the high contrast reflection in the foreground where the white sky meets the dark tree reflection almost in the center of the canvas, shooting your eye upward to the focal point; The fog above the river. Circle left and down towards the left bank and back to where you started making a circular, linear eye movement.
7) UNITY: paintings derive their interest from juxtaposing elements. This painting finds its balance in the collective, disproportionate arrangement of the above elements. In other words, this painting is unified because there is more dark and less light, more cool color and less warm color, more large shapes and fewer smaller shapes, more flat and silhouetted shapes and less textural shapes, etc….
Born in 1980, Vladimir Kirillov Was only 14 when OJ’s white Bronco was being chased by a police convoy. An astonishingly skilled painter clearly well disciplined through muscle memory.
we paint every Tuesday from November through May. $300 for 8 weeks, $50 drop in. Limit 10.
What: Critique Club
Where: Todd Bonita Gallery. 39 Ceres St. Portsmouth, NH
When: 12:30 - 4:30, Tuesday, November 09, 2021
What to bring: painting supplies.
Parking: Hanover Street garage or meters. (Drop your gear off at my gallery first if you wish, park and then walk back).
Bathrooms: Free at my gallery
Other: Come in, set up, paint for three hours independently. One hour group critique 3:30 -4:30 with Coffee & treats.
LINK to: CRITIQUE CLUB
Todays Painting: Fog above the river by Vladimir Kirillov
What we can Learn: Muscle Memory
Finish this quote….“ If the glove don’t fit…”
If you are old enough to remember the O.J. Simpson trial from 1995, you may have guessed the correct answer:....
“ If the glove don’t fit, you must acquit“.
O.J.’s Lawyer, Johnny Cochran was aware of the psychological phenomenon of repeating something seven times for it to find its way into the deep recesses of memory recall. He deliberately repeated this phrase to the jurors, knowing it would leave an imprint on them while processing deliberation. Did you guess correctly? If so, thank your hippocampus in your brains temporal lobe because that was 26 years ago!!!
Cultural history aside, I’m interested in this as it relates to painting and your brains ability to comprehend the elements of picture making and perform painting tasks efficiently through repetition. Muscle memory involves consolidating a motor task like painting and putting it into memory through repetition. When an action is repeated consistently, a long-term muscle memory is created, ultimately enabling you to perform it with little to no conscious effort. This process decreases the need for attention and creates maximum efficiency within the motor and memory systems. Therefore, it makes sense to get the best training you can as early as you can so that when you practice, you are practicing the right way and NOT building muscle memory for bad painting habits.
Academic truth #73:
“Good painting is not a result of stacking new techniques on top of more techniques, rather, it is a result of learning a smaller number of academic truths and practicing them over and over again, developing muscle memory in those areas of efficient and practical picture making.
Im grateful to have learned painting through repetition and unapologetically teach it that way. Any one of my students who have studied with me for a year or more could likely use repettious understanding to breakdown this Vladimir Kirillov painting by telling me why it works using our standard, “ 7 Elements of picture making checklist”. Let’s bang it out…..
1) DESIGN: solid and simplified design using radiating - diagonal lines that lead your eye to the fog above the river on the upper third of the painting, left of center.
2) VALUE: Squint and you’ll see a simple plan of three value families; (1) Light sky and water, (2) Mid-tone landmass on the left bank, (3) Dark large, unbroken mass of all of the trees and their reflections in the water.
3) DRAWING: Effectively using line with a variety of edges in the trees, landmass and reflections; soft edges to recede and harder to come foreword, Lost and found edges to convey mystery in the fog. His use of descriptive, natural textures in the grass on the foreground left bank comes forward and juxtaposes the simplified, less textural middle ground and background tree shapes, almost silhouetted by comparison. This sits them further away in space.
4) SHAPE: Squint again and you will see this is really 4 large masses on canvas. Sky, water, All the trees and the reflections are one mass and finally, the small riverbank shape on the left. Five or fewer major shapes makes for a stronger composition.
5) COLOR: Balanced, minimal, earthy and cool neutral greens dominate in this analogous color scheme. In keeping with good academic decisions, note the most chromatic color on the left bank in the foreground comes forward, while the neutrals recede. It also happens to be the warmest green. Warms come forward and cools recede. Check marks all around.
6) HIERARCHY: your eye first goes to the high contrast reflection in the foreground where the white sky meets the dark tree reflection almost in the center of the canvas, shooting your eye upward to the focal point; The fog above the river. Circle left and down towards the left bank and back to where you started making a circular, linear eye movement.
7) UNITY: paintings derive their interest from juxtaposing elements. This painting finds its balance in the collective, disproportionate arrangement of the above elements. In other words, this painting is unified because there is more dark and less light, more cool color and less warm color, more large shapes and fewer smaller shapes, more flat and silhouetted shapes and less textural shapes, etc….
Born in 1980, Vladimir Kirillov Was only 14 when OJ’s white Bronco was being chased by a police convoy. An astonishingly skilled painter clearly well disciplined through muscle memory.
October 31, 2021 Happy Halloween!
CRITIQUE CLUB
we paint every Tuesday from November through May. $300 for 8 weeks, $50 drop in. Limit 10.
What: Critique Club
Where: Todd Bonita Gallery. 39 Ceres St. Portsmouth, NH
When: 12:30 - 4:30, Tuesday, November 01, 2021
What to bring: painting supplies.
Parking: Hanover Street garage or meters. (Drop your gear off at my gallery first if you wish, park and then walk back).
Bathrooms: Free at my gallery
Other: Come in, set up, paint for three hours independently. One hour group critique 3:30 -4:30 with Coffee & treats.
LINK to: CRITIQUE CLUB
Todays Painting: Alfredo's by Terry Miura
What we can Learn:
Paint what you love (Emotional Connection)
"When a drawing is tiresome it may be because the motive is not worth the effort"...Robert Henri.
This enlightening quote is from a book that has been at the top of my recommended reading list for more than a decade, "The Art Spirit" by Robert Henri. This book should be on the shelf of every artist whose serious about cracking the codes to good painting. Its a brilliant collection of art related quotes, thoughts, ideas and wisdom.
It seems elementary to paint what you love but at the end of the day, it comes down to being open to responding to what stops you emotionally, being present when it does and processing it with the goal of putting that feeling into the painting. Your poetry is in your emotions. Have you ever really thought to yourself what is it that you truly love to paint? For my annual, "Layer and Glaze" oil class, I begin by asking students to bring in three photographs that are potential subjects for their motifs. I informed them that they will spend 8 weeks painting this picture, "So you better LOVE IT". The pictures become fodder for our lecture on design and what makes a good painting. Just because you love it, does not mean it will make a good painting. Remember last weeks Academic principle # 92: God made nature perfect but not perfect for the painter, therefore we must infuse or force design into the motif. Boom! If you look at a well crafted painting, you can fairly accurately tell what the artist was interested in and get closer to identifying what they loved about it.
Take Terry Miura's painting, "Alfredo's". What do you think stopped Terry and made him decide to paint this? Only Terry could tell you for sure but (with apologies to Mr. Miura and in the interest of education), permit me to ramble some speculative possibilities that I'll put into two categories; Literal and Abstract.
1) LITERAL (Left brain) :
* I like painting buildings.
* I love old neighborhoods. Old iron fire escapes and hydrants take me back to a simpler time.
* My dad used to get Canolis at Alfredo's when we were kids.
* I love the Aschcan painters, they painted a gritty truth about city life.
* I love how Edward Hopper painted light on buildings.
* I love film Noir, existential thinking and mystery...the way that guy walked out of Alfredos has a narrative that takes me there. Ill bet hes in the mob.
* I love the smell of freshly baked Focaccia bread in the morning when I walk by Alfredo's on my way to work.
2) ABSTRACT (Right brain) :
* I love the abstract patterns of light, dark and midtone. If I squint my eyes, those ratios create a balanced tension.
* I like the arrangement of horizontal, vertical and diagonal shapes.
* I like the large masses (Awning, window, sidewalk) and how they balance the smaller shapes (small piece of light left of the door, fire hydrant)
* I love the feeling of this space between me and the building. Its intimate, compared to the vast space of an open landscape or distant moiuntain.
* I love a minimalist palette. There are not a lot of loud colors that distract. This earthy palette has a simple sophistication that suits my poetic sensibilities.
* The textures of light on stone, Iron and fabric present opportunities for me to manipulate edges and the tactile quality of the paint.
Its all valid. Take another look at Terry's painting and consider the above list...do you see some of those things in there?...Note how this simple exercise contributes to the emotional connection to the painting. Impliment this practice in your own workl...Here is an excellent strategy for getting to the heart of what you love: Look, emote and wake up to how you feel about the subject with a goal to put that into the painting.
we paint every Tuesday from November through May. $300 for 8 weeks, $50 drop in. Limit 10.
What: Critique Club
Where: Todd Bonita Gallery. 39 Ceres St. Portsmouth, NH
When: 12:30 - 4:30, Tuesday, November 01, 2021
What to bring: painting supplies.
Parking: Hanover Street garage or meters. (Drop your gear off at my gallery first if you wish, park and then walk back).
Bathrooms: Free at my gallery
Other: Come in, set up, paint for three hours independently. One hour group critique 3:30 -4:30 with Coffee & treats.
LINK to: CRITIQUE CLUB
Todays Painting: Alfredo's by Terry Miura
What we can Learn:
Paint what you love (Emotional Connection)
"When a drawing is tiresome it may be because the motive is not worth the effort"...Robert Henri.
This enlightening quote is from a book that has been at the top of my recommended reading list for more than a decade, "The Art Spirit" by Robert Henri. This book should be on the shelf of every artist whose serious about cracking the codes to good painting. Its a brilliant collection of art related quotes, thoughts, ideas and wisdom.
It seems elementary to paint what you love but at the end of the day, it comes down to being open to responding to what stops you emotionally, being present when it does and processing it with the goal of putting that feeling into the painting. Your poetry is in your emotions. Have you ever really thought to yourself what is it that you truly love to paint? For my annual, "Layer and Glaze" oil class, I begin by asking students to bring in three photographs that are potential subjects for their motifs. I informed them that they will spend 8 weeks painting this picture, "So you better LOVE IT". The pictures become fodder for our lecture on design and what makes a good painting. Just because you love it, does not mean it will make a good painting. Remember last weeks Academic principle # 92: God made nature perfect but not perfect for the painter, therefore we must infuse or force design into the motif. Boom! If you look at a well crafted painting, you can fairly accurately tell what the artist was interested in and get closer to identifying what they loved about it.
Take Terry Miura's painting, "Alfredo's". What do you think stopped Terry and made him decide to paint this? Only Terry could tell you for sure but (with apologies to Mr. Miura and in the interest of education), permit me to ramble some speculative possibilities that I'll put into two categories; Literal and Abstract.
1) LITERAL (Left brain) :
* I like painting buildings.
* I love old neighborhoods. Old iron fire escapes and hydrants take me back to a simpler time.
* My dad used to get Canolis at Alfredo's when we were kids.
* I love the Aschcan painters, they painted a gritty truth about city life.
* I love how Edward Hopper painted light on buildings.
* I love film Noir, existential thinking and mystery...the way that guy walked out of Alfredos has a narrative that takes me there. Ill bet hes in the mob.
* I love the smell of freshly baked Focaccia bread in the morning when I walk by Alfredo's on my way to work.
2) ABSTRACT (Right brain) :
* I love the abstract patterns of light, dark and midtone. If I squint my eyes, those ratios create a balanced tension.
* I like the arrangement of horizontal, vertical and diagonal shapes.
* I like the large masses (Awning, window, sidewalk) and how they balance the smaller shapes (small piece of light left of the door, fire hydrant)
* I love the feeling of this space between me and the building. Its intimate, compared to the vast space of an open landscape or distant moiuntain.
* I love a minimalist palette. There are not a lot of loud colors that distract. This earthy palette has a simple sophistication that suits my poetic sensibilities.
* The textures of light on stone, Iron and fabric present opportunities for me to manipulate edges and the tactile quality of the paint.
Its all valid. Take another look at Terry's painting and consider the above list...do you see some of those things in there?...Note how this simple exercise contributes to the emotional connection to the painting. Impliment this practice in your own workl...Here is an excellent strategy for getting to the heart of what you love: Look, emote and wake up to how you feel about the subject with a goal to put that into the painting.
PLEIN AIR TUESDAYS
We paint every Tuesday from May through Novemeber.
$360 for 8 Tuesdays or $50 drop in.
What: Plein air Tuesday
Where: Due to rain, we will meet at Todd Bonita Gallery @ 39 Ceres St. Portsmouth, NH.
If the rain stops we can go to Market Square.
When: 9 AM to 2 PM, Tuesday, October 25, 2021
What to bring: painting supplies, water, lunch, snack, hat, umbrella
Parking: Hanover Street garage or meters. Alternatively the Parrot Ave lot is free. (Drop your gear off at my gallery first if you wish, park and then walk back).
Bathrooms: Free at my gallery
Weather: 52 at 9am rising to 54 by 2pm..100% chance of rain.
Other: I will demo and lecture and provide side-by-side easel assistance.
LINK to: PLEIN AIR TUESDAY
Todays Painting: The Little Street by Vermeer. 1658
I love this painting!
What we can Learn: Half light motifs
An excellent skill set to have for outdoor painters is the ability to craft a motif in nature in half light conditions. Half light simply means its not sunny out, or that its overcast with clouds and there is little-to-no shadow and light forms. A sunny day offers strong light and shadow contrast and for most Plein air painters, it is ideal and abundant with motif possibilities. As the clouds roll in however, its up to us as painters to find creative solutions when choosing a motif with visual interest and tensions in the absence of sun. For this we simply rely on other principles.
Academic principle #108: Paintings derive their interest from juxtaposing elements. In other words, paintings become interesting when they have stuff in them that is different. Dark next to light, warm next to cool, big & small shapes, hard & soft edges, etc....Your ability to look for natural contrast in nature is one of the keys to solving the half light challenge. In the absence of strong light and shadow shapes, push yourself to find natural pops of darks and lights within the motif. In Vermeers painting here, note the dark values presented by the doorways and windows. Its no coincidence that the dark doors are surrounded by the white trim, which also happens to be the lightest light. Not a coincidence.
Academic principle # 92: God made nature perfect but not perfect for the painter, therefore we must infuse or force design into the motif. One way to do that is to exaggerate qualities of contrast. Its likely Vermeer pushed the lights on the trim and pulled the darks in the doorways to heighten the contrast and visual tensions. If exaggerating an element will contribute to harmonized tensions then by all means, do what you must. This idea of looking for natural contrasts in nature is an excellent skill set to add to your growing painters tool box. Herer are a few other ways Vermeer is likely pushing and pulling tensions in this scene.
* Note his use of Triangles and vertical rectangles repeating their rhythmic shapes in various sizes throughout the motif. The vertical rectangles are easier to spot as they are evident in all those doorways and windows. Note how they are largest at the base of the building and get smaller as they go up the facade. That smallest window at the top is the top of a carefully crafted, large triangle...see for yourself. Interestingly, this triangle is repeated in those rooftop facade shapes in the background. Clever.
* Vermeer uses Virtical, horizontal and diagonal shapes of architecture in various sizes to create varied linear pathways, moving your eye up, down, across, etc...The geometry of these man made shapes contrasts nicely with the organic shapes of nature in the clouds and green ivory.
* Check marks for Linear pathway on the sidewalk in front, leading us into the motif, Overlapping shapes of buildings and use of scale in the windows.
* Note the use of humanistic interest and suggested narrative with the addition of the figures. They are subtle in their occupation of their own independent matters, facing apposing directions and adding a quietly measured tension. The visual weight of figures in a painting is as valid a tool to consider as contrast, color saturation, texture, edges or scale. Brilliant.
* For fun, Ill add that Vermeer executed this fairly small masterpiece using a minimal palette with only five colors plus Lead White. He used Red Ochre and Madder Lake for the bricks, Ultramarine and Lead White for the sky, Azurite (A Blue similar to Thalo) and Lead Tin yellow for the Ivory tree.
Hope to see you on Tuesday. I'll have a pot of coffee on at the gallery. Happy painting my friends. Todd Bonita
We paint every Tuesday from May through Novemeber.
$360 for 8 Tuesdays or $50 drop in.
What: Plein air Tuesday
Where: Due to rain, we will meet at Todd Bonita Gallery @ 39 Ceres St. Portsmouth, NH.
If the rain stops we can go to Market Square.
When: 9 AM to 2 PM, Tuesday, October 25, 2021
What to bring: painting supplies, water, lunch, snack, hat, umbrella
Parking: Hanover Street garage or meters. Alternatively the Parrot Ave lot is free. (Drop your gear off at my gallery first if you wish, park and then walk back).
Bathrooms: Free at my gallery
Weather: 52 at 9am rising to 54 by 2pm..100% chance of rain.
Other: I will demo and lecture and provide side-by-side easel assistance.
LINK to: PLEIN AIR TUESDAY
Todays Painting: The Little Street by Vermeer. 1658
I love this painting!
What we can Learn: Half light motifs
An excellent skill set to have for outdoor painters is the ability to craft a motif in nature in half light conditions. Half light simply means its not sunny out, or that its overcast with clouds and there is little-to-no shadow and light forms. A sunny day offers strong light and shadow contrast and for most Plein air painters, it is ideal and abundant with motif possibilities. As the clouds roll in however, its up to us as painters to find creative solutions when choosing a motif with visual interest and tensions in the absence of sun. For this we simply rely on other principles.
Academic principle #108: Paintings derive their interest from juxtaposing elements. In other words, paintings become interesting when they have stuff in them that is different. Dark next to light, warm next to cool, big & small shapes, hard & soft edges, etc....Your ability to look for natural contrast in nature is one of the keys to solving the half light challenge. In the absence of strong light and shadow shapes, push yourself to find natural pops of darks and lights within the motif. In Vermeers painting here, note the dark values presented by the doorways and windows. Its no coincidence that the dark doors are surrounded by the white trim, which also happens to be the lightest light. Not a coincidence.
Academic principle # 92: God made nature perfect but not perfect for the painter, therefore we must infuse or force design into the motif. One way to do that is to exaggerate qualities of contrast. Its likely Vermeer pushed the lights on the trim and pulled the darks in the doorways to heighten the contrast and visual tensions. If exaggerating an element will contribute to harmonized tensions then by all means, do what you must. This idea of looking for natural contrasts in nature is an excellent skill set to add to your growing painters tool box. Herer are a few other ways Vermeer is likely pushing and pulling tensions in this scene.
* Note his use of Triangles and vertical rectangles repeating their rhythmic shapes in various sizes throughout the motif. The vertical rectangles are easier to spot as they are evident in all those doorways and windows. Note how they are largest at the base of the building and get smaller as they go up the facade. That smallest window at the top is the top of a carefully crafted, large triangle...see for yourself. Interestingly, this triangle is repeated in those rooftop facade shapes in the background. Clever.
* Vermeer uses Virtical, horizontal and diagonal shapes of architecture in various sizes to create varied linear pathways, moving your eye up, down, across, etc...The geometry of these man made shapes contrasts nicely with the organic shapes of nature in the clouds and green ivory.
* Check marks for Linear pathway on the sidewalk in front, leading us into the motif, Overlapping shapes of buildings and use of scale in the windows.
* Note the use of humanistic interest and suggested narrative with the addition of the figures. They are subtle in their occupation of their own independent matters, facing apposing directions and adding a quietly measured tension. The visual weight of figures in a painting is as valid a tool to consider as contrast, color saturation, texture, edges or scale. Brilliant.
* For fun, Ill add that Vermeer executed this fairly small masterpiece using a minimal palette with only five colors plus Lead White. He used Red Ochre and Madder Lake for the bricks, Ultramarine and Lead White for the sky, Azurite (A Blue similar to Thalo) and Lead Tin yellow for the Ivory tree.
Hope to see you on Tuesday. I'll have a pot of coffee on at the gallery. Happy painting my friends. Todd Bonita
OGUNQUIT GALLERY
SEASON OPENER
Friday, May 28, 2021. (6pm - 8pm)
Todd Bonita Gallery
Perkins Cove, Ogunquit, Maine.
Join us for the kick-off of our 8th season in Perkins Cove, in the heart of the Ogunquit Art Colony. Exhibiting original oil paintings by Nationally recognized artist. David and Pam Lussier, Stan Moeller, Dennis Poirier, Tom Hughes, Karen Blackwood, Hillary Scott, Sam Vokey, Alastair Dacey, Chris Volpe, Dennis Perrin, JC Airoldi, Mikel Wintermantel, Daniel Corey, Donald Jurney, Gareth Jones, Kevin Beers, Mark Shasha and others. We will be open daily, all summer through Columbus day in October. We hope to see you.
SEASON OPENER
Friday, May 28, 2021. (6pm - 8pm)
Todd Bonita Gallery
Perkins Cove, Ogunquit, Maine.
Join us for the kick-off of our 8th season in Perkins Cove, in the heart of the Ogunquit Art Colony. Exhibiting original oil paintings by Nationally recognized artist. David and Pam Lussier, Stan Moeller, Dennis Poirier, Tom Hughes, Karen Blackwood, Hillary Scott, Sam Vokey, Alastair Dacey, Chris Volpe, Dennis Perrin, JC Airoldi, Mikel Wintermantel, Daniel Corey, Donald Jurney, Gareth Jones, Kevin Beers, Mark Shasha and others. We will be open daily, all summer through Columbus day in October. We hope to see you.
Crawford Notch oil demonstration (6x8") by Todd Bonita $450
CRAWFORD NOTCH
I am honored to have been part of the Artist in Residence program at the Appalaichan Mountain Club at the Crawford Notch Highland Center in the New Hampshire White Mointains for the past several years. This program, which was started by my good friend and fellow painter, Christopher Volpe, included a team taught workshop with myself and fellow artist and friend, Alastair Dacey. This week would have been our fifth annual, however, due to COVID-19 restrictions, the program will not run this year.
In the spirit of good will, Alastair has championed a gesture to keep our annual tradition alive.
Now through October 11th we’re offering our oil studies, demos and oil sketches from our time at Crawford Notch at reduced, unframed prices, and giving the AMC Highland Center 15% of the proceeds.
Visit the links below to see our paintings and consider supporting the arts and the AMC by adding a piece of original art to your collection. Purchase directly from our sites and we’ll get your painting in the mail to you asap. CHRISTOPHER VOLPE ALASTAIR DACEY
I am honored to have been part of the Artist in Residence program at the Appalaichan Mountain Club at the Crawford Notch Highland Center in the New Hampshire White Mointains for the past several years. This program, which was started by my good friend and fellow painter, Christopher Volpe, included a team taught workshop with myself and fellow artist and friend, Alastair Dacey. This week would have been our fifth annual, however, due to COVID-19 restrictions, the program will not run this year.
In the spirit of good will, Alastair has championed a gesture to keep our annual tradition alive.
Now through October 11th we’re offering our oil studies, demos and oil sketches from our time at Crawford Notch at reduced, unframed prices, and giving the AMC Highland Center 15% of the proceeds.
Visit the links below to see our paintings and consider supporting the arts and the AMC by adding a piece of original art to your collection. Purchase directly from our sites and we’ll get your painting in the mail to you asap. CHRISTOPHER VOLPE ALASTAIR DACEY
PERKINS COVE ARTIST IN RESIDENCE
Rotary Park, Perkins Cove, Ogunquit, Maine 2020
Daily through Columbus Day. (10a -5pm)
In an effort to revitalize the spirit of the Ogunquit Art Colony, Perkins Cove and local culture, artist's will paint daily at Rotary Park in Perkins Cove all summer through Columbus Day. A different local artist will set up their outdoor painting gear each day and share their talent live to the public. Artist's will paint as few as three hours or all day between the hours of 10am and 5 pm. A calendar and artist schedule will be posted here soon.
In collaboration with local merchants, the Parks and Recreation department and the Todd Bonita Gallery in Ogunquit, Maine.
CLICK HERE for schedule and more details:
ARTIST WHO WISH TO PARTICIPATE, CLICK HERE:
Rotary Park, Perkins Cove, Ogunquit, Maine 2020
Daily through Columbus Day. (10a -5pm)
In an effort to revitalize the spirit of the Ogunquit Art Colony, Perkins Cove and local culture, artist's will paint daily at Rotary Park in Perkins Cove all summer through Columbus Day. A different local artist will set up their outdoor painting gear each day and share their talent live to the public. Artist's will paint as few as three hours or all day between the hours of 10am and 5 pm. A calendar and artist schedule will be posted here soon.
In collaboration with local merchants, the Parks and Recreation department and the Todd Bonita Gallery in Ogunquit, Maine.
CLICK HERE for schedule and more details:
ARTIST WHO WISH TO PARTICIPATE, CLICK HERE:
PAINTING DEMO
NEW HAMPSHIRE ART ASSOCIATION
Tuesday, November 13, 2018 (7:00 - 9:00pm)
136 State Street, Portsmouth NH
I'm pleased to announce that I am doing an oil painting demonstration with the New Hampshire Art Association this coming November 13th. I will be using a layering and glazing process borrowed from the Renaissance. I'll be talking about the Seven elements of picture making and how we can rewire our brains to see like an artist. This will be great fun, packed with information and good company. Please contact the New Hampshire Art Association to reserve a seat for Tuesday evenings demo, November 13 from (7:00 - 9:00pm).
Contact: nhartassociation@gmail.com
CLICK HERE for my Layer and Glaze workshop.
CLICK HERE for my Studio 5 Day Intensive workshop
NEW HAMPSHIRE ART ASSOCIATION
Tuesday, November 13, 2018 (7:00 - 9:00pm)
136 State Street, Portsmouth NH
I'm pleased to announce that I am doing an oil painting demonstration with the New Hampshire Art Association this coming November 13th. I will be using a layering and glazing process borrowed from the Renaissance. I'll be talking about the Seven elements of picture making and how we can rewire our brains to see like an artist. This will be great fun, packed with information and good company. Please contact the New Hampshire Art Association to reserve a seat for Tuesday evenings demo, November 13 from (7:00 - 9:00pm).
Contact: nhartassociation@gmail.com
CLICK HERE for my Layer and Glaze workshop.
CLICK HERE for my Studio 5 Day Intensive workshop
PAINTING DEMO KITTERY ART ASSOCIATION
Wednesday, November 15, 2017 (6:30 - 8:30pm)
8 Coleman Ave, Kittery Point, ME
I'm excited to be working with the Kittery Art Association again. I'll be doing a studio painting demonstration this November, using a layering and glazing process borrowed from the Renaissance. I'll be talking about the Seven elements of picture making and how we can rewire our brains to see like an artist. This will be great fun, packed with information and good company. Please contact the Kittery Art Association to reserve a seat for Wednesday evenings demo, November 15 from (6:30 - 8:30pm).
Contact: (207) 451 - 9384
http://www.kitteryartassociation.org
CLICK HERE for my Layer and Glaze workshop.
CLICK HERE for my Studio 5 Day Intensive workshop
Wednesday, November 15, 2017 (6:30 - 8:30pm)
8 Coleman Ave, Kittery Point, ME
I'm excited to be working with the Kittery Art Association again. I'll be doing a studio painting demonstration this November, using a layering and glazing process borrowed from the Renaissance. I'll be talking about the Seven elements of picture making and how we can rewire our brains to see like an artist. This will be great fun, packed with information and good company. Please contact the Kittery Art Association to reserve a seat for Wednesday evenings demo, November 15 from (6:30 - 8:30pm).
Contact: (207) 451 - 9384
http://www.kitteryartassociation.org
CLICK HERE for my Layer and Glaze workshop.
CLICK HERE for my Studio 5 Day Intensive workshop
NEW ART STUDIO!
871 Islington Street (studio #A100). Portsmouth, NH
After exactly ten years in studio #224 at the Button Factory Artist studios, I will be moving to a new art space...Its only one flight down from my old studio. I'll be on the first floor of the Button Factory but with a new address entirely. This is my new studio mate and co-owner of the space, Artist and Architect, Frank Hyer. We just signed the papers this afternoon and made it official with a dram of single malt scotch. We will likely host visitors as part of the Button Factory annual open studio event the first Saturday in December...but if we can pull it together, it would be fun to have a studio opening party...check back.
871 Islington Street (studio #A100). Portsmouth, NH
After exactly ten years in studio #224 at the Button Factory Artist studios, I will be moving to a new art space...Its only one flight down from my old studio. I'll be on the first floor of the Button Factory but with a new address entirely. This is my new studio mate and co-owner of the space, Artist and Architect, Frank Hyer. We just signed the papers this afternoon and made it official with a dram of single malt scotch. We will likely host visitors as part of the Button Factory annual open studio event the first Saturday in December...but if we can pull it together, it would be fun to have a studio opening party...check back.
"31 Paintings in 31 Days"
(Ciara Fundraiser event) March 1 - 31, 2017
Todd Bonita Gallery, Portsmouth, NH
Follow along with us as Artists Dennis Poirier and Todd Bonita collaborate to paint 31 outdoor paintings in 31 days during the month of March. All paintings will be (6x8") oil, framed and priced exclusively for this charity event at $300 each. 50% of the gallery profits will go to Ciaras family fund in support of our fundraising charity event for 9 year old Portsmouth resident Ciara, who was recently diagnosed with a malignant brain tumor in December 2016.
We will post the paintings on our web site and then hang them in the Todd Bonita Gallery in Portsmouth each day as we finish them. You can purchase a painting by phone, online, in person at the gallery or pre-purchase a calendar date in advance. This effort will culminate in an exhibition featuring all 31 paintings on Friday, April 7, 2017. Public reception (5-8pm). A special page has been set up to follow and / or purchase works from
this event. Click here for 31 in 31
You can learn more about Ciara and make a donation directly to the family through their GoFundMe page: Click Here.
(Ciara Fundraiser event) March 1 - 31, 2017
Todd Bonita Gallery, Portsmouth, NH
Follow along with us as Artists Dennis Poirier and Todd Bonita collaborate to paint 31 outdoor paintings in 31 days during the month of March. All paintings will be (6x8") oil, framed and priced exclusively for this charity event at $300 each. 50% of the gallery profits will go to Ciaras family fund in support of our fundraising charity event for 9 year old Portsmouth resident Ciara, who was recently diagnosed with a malignant brain tumor in December 2016.
We will post the paintings on our web site and then hang them in the Todd Bonita Gallery in Portsmouth each day as we finish them. You can purchase a painting by phone, online, in person at the gallery or pre-purchase a calendar date in advance. This effort will culminate in an exhibition featuring all 31 paintings on Friday, April 7, 2017. Public reception (5-8pm). A special page has been set up to follow and / or purchase works from
this event. Click here for 31 in 31
You can learn more about Ciara and make a donation directly to the family through their GoFundMe page: Click Here.
February 2017: 2 Person Exhibition at Gingerbread Square Gallery, Key West Florida. Aproximately 18 new oil paintings in what will be my 8th winnter show in this fabulous Key West gallery. Date to be announced but it will likely be in early February of 2017.