San Giovanni, Italy, June 10

This painting is an old farmhouse where we stayed, part of a twelfth century estate perched high above the valley near San Giovanni, just 40 km east of Lucca. The house has a history that incudes the most recent incursions involving the Fascists when British troops occupied the little village a few kilometers away and sent a few mortar rounds into these buildings occupied by Fascists during WWII.



The roofs have been replaced and the serenity of the Tuscan countryside prevails. The walls were reflecting the warm tones cast by the sun and set a quiet glow across the landscape.

Korcula Island, Croatia

Each island we visit becomes even more beautiful than the last. Since Krk(Kirk) we have been to the medieval ccoastal city of Zadar for two days then off to Dubrovnik, where we stayed nearby in a little village called Slano, nested on a fantastic small bay of the Adriatic. I didn't paint for those 5 days as we were simply awestruck by the visual impact of both cities, as well as the war (1992-96, when they were attacked by the Serbs and Monte Negro forces). Even Dubrovnik, which was heavily hit and is still re-building - although the casual visitor wouldn't really notice - as they are doing such a marvelous job of restoration. That city has a very long history of seiges, inflicted by both man and nature (huge earthquake in 1665 wiped-out most of the city, as well as another in the 1970's). It is the wars, though, that underscore the resilience of these people and their innate ability to always adjust. Hundreds of residents of Dubrovnik hid-out for weeks in an old fortress of the city wall (several feet thick, built of stone) in the 90's war while hundreds more were killed and thousands wounded. Hundrds of buildings were completely destroyed - one notable stat is they have replaced 490,000 roof tiles since 1996 and are still working.


The most poignant moment for me came when I discovered that the small village of Slano, where we rented an “apartmani” had been completely fire-bombed by the Serbs. Every building in the village, including the only resort hotel was fire bombed. The older buildings survived, structurely, as stone doesn't readily burn and roof tiles and interior walls can be replaced, which they have been doing for 12 years now. Even the church tower survived, which was a prime target all over Croatia for other villages, as we have observed. This comment made by the owner of our apartment (which was likewise nearly completely destroyed, but has been re-built to fine standards with more modern conveniences) that he is Croatian and his wife of 40 years is Serbian “You know, because we are who we are, (serb and Croatian) it is not good for us now in either country. We have these damned wars every 50 years and maybe this one will be the last.” He looked fifteen years older than his age and is obviously weary of the processes involved in “these damned wars”. While we see it on TV and read about it in the news, these small countries get a hands-on experience in real-time and it is ugly. Roadside signs here and there, still warn of land mines, with a skull and cross bones image.

It's very beautiful in Croatia again, most everything has been restored to it's former glory and it is all because of the strong spirit prevailing in these people. While they are a little trepiditous about joining the EU, which will happen in just months, they are also willing to look at a new union that might help to preclude “a damned war every 50 years” or so.

We have now taken thousands of photos (at least 400 just in Dubrovnik) for painting references and I am looking forward to using those in the studio. I am back to painting on-site again and have a couple of images here from the islands of Murter and now Korcula, where we are staying for one week. Today, it's off to Vela Luka, a town on the far west side of this island, ironically, the sister city of Anacortes, Washington, near where we live. The “Vela Luka” dancers of Anacortes, share a cultural weave through their native costumed dances and language preservation.


OK, I know I said these blogs would be only about the paintings, especially after the opus from Spain, but a lot of the painting process for me includes an added dimension, beyond just form, color and light and has much to do with human elements as well.

Krk island, Croatia

Three days of painting around the old city (3000 years old) with walls built between the eleventh and fourteenth centuries has been a fabulous experience!

We lucked into the best apartmnent rental in Croatia (at least to date) which has a balcony perfectly aligned for great compositions of the old walled city and especially the cathedral, with a bronze “weather angel” atop who swings with the prevailing wind.

The owners of ths apartment are artists, Dagmar (German born) and her husband Cedo (Croatian), who has designed and built this great home. Dagmar paints in watercolor and owns a gallery in the old city, while Cedo (Chay dough) expertly frames her work. We have become friends and painted together on the harbor.

We have the whole upstairs for 5 days, but could easily and readily spend 5 weeks painting here. Unbelievable colors, especially in the water and dozens of narrow passages within the city to set-up my easel. This is defnitley a keeper for painting locations and we will return here within 2 years to spend more time. The island is magical (aren't they all?!) and just takes your breath away.

The paintings/studies here have all been done in 4 days and some will require extra studio time when we return. As usual, several drawings (studies) and hundreds of photos will keep me very busy for months to come.

Speaking of months to come, we just hit the halfway point of our 3 month painting trip to Europe, with two more weeks in Croatia and then 4 more weeks in Italy. The work I am doing here will be available in mid-July, framed and ready to hang at Crow Valley Gallery in Eastsound, Orcas Island, Washington, Gottlieb gallery in Portland, Oregon and later this fall at Scott Milo gallery in Anacortes, Washington and Woman of Steel Gallery in Boise, Idaho..

Please watch the web site for show dates.

Many more paintings have been produced on this trip than I have had time to “blog”. Travelling like this is not conducive to regular communications and I feel lucky to fire-off one per week.

Venice, Italy April 28, 2008

Steve follows footsteps!

I had exactly one good weather day to set-up to paint in Venezia and took advantage by starting a plein air piece at one of the many Pontes - out of the wind and with sunlight streaming through. Rain and nasty weather had prevailed throughout our entire trip during March and April, making any outdoor painting a challenge.

As I reflect back to having the opportunity to actually paint in what is, without question, the most unique city in the world, (we are presently in Croatia, nearly 2 weeks later) I have to say it was simply humbling. Tintorettos from 400 years ago were being shown in the museum, together with many other master painters from Venice. I took the time to carefully observe how they applied paint and how they translated within their own time, and really, how little the city has changed since.


I am thankful for the opportunity and picked-up some good reviews from the throngs of people passing by . . . . for me, the biggest thing was to simply paint on-site in Venice. As usual, several sketches were done the 2 days we visited the city and a huge amount of phototography for studio work was accomplished. it's all about the light here and I hope to nail it down from my field work and as time allows when we return home.

Wednesday April 16 2008

After driving through “virtual eye candy” for one whole day without actually stopping to paint, (from Porto, Portugal to Gijon, Spain on the north coast), I finally settled on a spot overloking a tidal area just 25km east of Gijon. Off road for a few km, we tried for parking at a spot where the hillside overlooked sea and the light was glowing, even at mid-day! The parking problem is perpetual over here, even in small rural areas - after three passes back and forth over a narrow roadway, we nearly gave-up. However, a house just uphill, with a small driveway access (and under remodel construction - probably about 300 years old) had a few people on-site, so we stopped to see about permission to paint near there,

This is what always delights me about the common dialogue of art - it transcends language barriers and makes instant communication possible. The woman who came to meet us at the bottom of her driveway, was at first, very cautious about any conversation (she spoke no English, likewise us in Spanish), until I showed her a few samples of my artwork (business card images) and pantomimed setting-up to paint.

Her husband and several stone masons, arms folded on chests, were also very askance about a stranger in their midst, especially when they were busy with a huge project.

I don't want to go off about this, but it is the essence of my travels and to do art wherever I go. Before I knew it, and once the language barrier was partly resolved, I was being ushered to a prime painting spot on their roof, with a 360 view and enthusiastic gestures about which way to paint, from everyone! This, my friend, is what it means for me to be at home in a strange land!

I finished the painting 2 hours later - it's ALWAYS scarey to show your work to a new crowd - and was met with great reviews plus an invitation indoors for coffee (which got spiked with something really good by Justino) and a “conversation” in Spanish, Italian and English for nearly an hour . . . all with arms waving wildly and gestures that were made with great passion.

We made life-long frinds with the Guitterexz family – they are Basque, (like so many of my old friends in Boise, Idaho, especially my brother-in-law, Carlos Mendiola) and even knew much about HIS heritage over here, telling us of his name-sake!! We have exchanged invitaions to meet again as guests of one another in either country and I sincerely hope that happens!

What a place and I hope my painting here gives you a small visual idea of this countryside, filled with beautiful people, and with a history beyond description.

O.K, after this, no more epic opus from ol' Steve, just the straight stuff from the easel. What a trip this has been and we're barely started!

Ponte de Lima, Portugal April 15,2008

This bridge in northern Portugal is home to a local bi-weekly market day that has been going, without stop, since 1125. After 900 years, these vendors have it down cold and you can find everything you might ever need here!

I found the bridge with small cathedral and a beautiful river to paint.

Afterwards, I simply turned around, walked out on the bridge to paint these distant buildings reflected in the water. A lot of quick strokes, as the light was rapidly changing.

Ventimiglia, Italy

4/24/08

The village from the mouth of the river flowing down from the alps. Spring has arrived (o.k., it was 78 degrees that afternoon) and the colors were out. This is just across the border from France, the “rivieras” of both countries. Many studies done for future paintigs from the studio when we get back home!

Ponte at Auch, France 4/19/08

Painted during a weather transition (meaning wind, with sun, then rain) I was lucky to get the basic color and composition notes before the rain. We arrived at Auch during their weekly farmers market and have dozens of reference photos and sketches from that very colorful market that I can't wait to paint from later. (Pronounced Ouw-sh). Another bridge piece from the other side, with the village cathedral in the background) will come from this site when we get home.

April 8, 2008

This storm painting was done from a different angle yesterday evening, looking out from our balcony in Albufeira, Portugal. The seas built-up to about an 18 foot surf crashing the beaches, making for very dramatic light and wind conditions.

This morning, however, it is raining feircely, the sun has disappeared and the wind is still howling across the Atlantic. In the Pacific Northwest, I refer to this as “Rain air” painting, done from an indoor perch, looking outside. I will be working today from photos taken yesterday in a sweet little fishing town, Farragudo, near Portiamo, just 40 km west of here. I remain hopeful for better weather conditions to get outside with easel and painting materials, as we will be here through Saturday.

Albufeira, Portugal, April 6, 2008

First complete plein air painting from our balcony overlooking the southwest coast of Portugal. It has taken me nearly one week to adjust to the light and colors over here. This late afternoon sun and pending storm front made the water and horizon both appear liquid, yet provided a soft warm glow to the sunlit foreground.

There are some interesting rocks, where locals fish with long casting rods that I plan to explore when the wind lays down. The surf here is very active and makes wonderful patterns along the expansive stretches of beach. All in all, I'd say this is a superb place to explore and paint!

We are finding that daily blogs are next to impossible and will try to do at least one or two per week, with images from paintings, as well. “Wireless” is not easily found in Portugal, especially when our travel itinerary requires more necessary stops just to paint and for food, etc.

Now that I'm out from under the critical scrutiny of a badgering marmot "pun intended" and the wilds of New England... where I painted several pieces... a new series of plein air work will soon appear on the website. This little guy kept a wary eye on my progress at the Portland Maine Audubon Society Preserve & Headquarters. I'll update with new work soon.