Tadoussac

“A lonely ship sailed up the St. Lawrence. The white whales floundering in the Bay of Tadoussac, and the wild duck diving as the foaming prow drew near, — there was no life but these in all that watery solitude, twenty miles from shore to shore. The ship was from Honfleur, and was commanded by Samuel de Champlain. He was the Aeneas of a destined people, and in her womb lay the embryo life of Canada.”

“This port of Tadoussac was long the centre of the Canadian fur-trade. A desolation of barren mountains closes round it, betwixt whose ribs of rugged granite, bristling with savins, birches, and firs, the Saguenay rolls its gloomy waters from the northern wilderness. Centuries of civilization have not tamed the wildness of the place; and still, in grim repose, the mountains, hold their guard around the waveless lake that glistens in their shadow, and doubles, in its sullen mirror, crag, precipice, forest…, dark as the tide of Acheron, — a sanctuary of solitude and silence; depths which, as the fable runs, no sounding line can fathom, and heights at whose dizzy verge the wheeling eagle seems a speck.”

(The height of these cliffs are about eighteen hundred feet.)

The opening of the Saguenay onto the Saint Lawrence
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Vieux (Old) Quebec City I, Lower City and the Chateau Frontenac

A portion of the gigantic Chateau Frontenac

After college, I discovered Francis Parkman, the historian. Actually I had heard of him before, but found the first volume of his ambitious account of the struggle between England and France for possession of the North America. It was called Pioneers of France in the New World (1865), and it fired my desire to see old Quebec. Parkman is a wonderful writer and I have injected his descriptions of the St. Lawrence into my pictures of my husband’s and my 25th Wedding Anniversary Trip to Quebec and Maine. This blog may not be about Art precisely, but Parkman’s histories are definitely Literature.

Lower City and Hotel Frontenac on the Citadel

“Here a small stream, the St. Charles, enters the St. Lawrence, and in the angle betwixt them rises the promontory, on two sides a natural fortress. Between the cliffs and the river lay a strand covered with walnuts and other trees. From this strand, by a rough passage…, one might climb the heights to the broken plateau above, now burdened with its ponderous load of churches, convents, dwellings, ramparts and batteries. Thence, by a gradual ascent, the rock sloped upward to its highest summit, Cape Diamond, looking down on the St. Lawrence from a height of three hundred and fifty feet. Here the citadel now stands; then the fierce sun fell on the bald, baking rock, with is crisped mosses and parched lichens. Two centuries and a half have quickened the solitude with swarming life, covered the deep bosom of the river with barge and steamer and gliding sail, and reared cities and villages on the site of forests; but nothing can destroy the surpassing grandeur of the scene.”

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Quebec City II, Upper City and Champlain’s First Winter in Quebec

City Gate and Fortifications (Grande Allee)

From Pioneers of France:”

“On the strand between the water and the cliffs Champlain’s axemen fell to their work….In a few weeks a pile of wooden buildings rose on the brink of the St. Lawrence, on or near the site of the market-place of the Lower Town of Quebec. The pencil of Champlain, always regardless of proportion and perspective, has preserved its likeness. A strong wooden wall, surmounted by a gallery loopholded for musketry, enclosed three buildings, contained quarters for himself and his men, together with a courtyard, from one side of which rose a tall dove-cot, like a belfry. A moat surrounded the whole, and two or three small cannon were planted on salient platforms towards the river. There was a large storehouse near at hand, and a part of the adjacent ground was laid out as a garden….

Jeanne d’Arc Monument

“A roving band of Montagnais had built their huts near the buildings, and were busying themselves with their autumn eel-fishery, on which they greatly relied to sustain their miserable lives through the winter. Their slimy harvest being gathered, and duly smoked and dried, they gave it for safe-keeping to Champlain, and set out to hunt beavers. It was deep in the winter before they came back, reclaimed their eels, built their birch cabins again, and disposed themselves for a life of ease, until famine or their enemies should put an end to their enjoyments. These were by no means without alloy. While, gorged with food, they lay dozing on piles of branches in their smoky huts, where, through the crevices of the thin birch-bark, streamed in a cold capable at times of congealing mercury, their slumbers were beset with nightmare visions of Iroquois forays, scalpings, butcherings, and burnings (pretty much the standard fare of Eastern Indian warfare). As dreams were their oracles, the camp was wild with fright. They sent out no scouts and placed no guard; but, with each repetition of these nocturnal terrors, they came flocking in a body to beg admission within the fort. The women and children were allowed to enter the yard and remain during the night, while anxious fathers and jealous husbands shivered in the darkness without.

“On one occasion a group of wretched beings was seen on the farther bank of the St. Lawrence, like wild animals driven by famine to the borders of the settler’s clearing. The river was full of drifting ice, and there was no crossing without the risk of life. The Indians, in their desperation, made the attempt; and midway their canoes were ground to atoms among the tossing masses. Agile as wild-cats, they all leaped upon a huge raft of ice, the squaws carrying their children on their shoulders, a feat at which Champlain marvelled when he saw their starved and emaciated condition. Here they began a wail of despair; when happily the pressure of other masses thrust the sheet of ice agains the northern shore. They landed and soon made their appearance at the fort, worn to skeletons and horrible to look upon. The French gave them food, which they devoured with a frenzied avidity, and unappeased, fell upon a dead dog left on the snow by Champlain for two months as a bait for foxes. They broke this carron into fragments, and thawed and devoured it, to the disgust of the spectators, who tried vainly to prevent them.

“This was but a severe access of the periodical famine which, during winter, was a normal condition of the Algonquin tribes of Acadia and the Lower St. Lawrence, who, unlike the cognate tribes of New England, never tilled the soil, or made any reasonable provision against the time of need.”

It was these Algonquin tribes, his neighbors, whose part Champlain took for his own and fought their battles against the Iroquois, I must say, very effectively but without the cruelties his friends wanted to visit upon their enemies.

Restaurant aux Anciens Canadiens, Grande Allee, Upper City

“One would gladly know how the founders of Quebec spent the long hurs of their first winter; but on this point the only man among them, perhaps, who could write, has not thought it necessary to enlarge….At the middle of May, only eight men of the twenty-eight were alive, and of these half were suffering from disease.”

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Hazelnut Torte with Beverly of Graustark

We’re leaving this morning for Quebec. I had been hoping to have this painting finished before leaving, but will have to settle for “almost finished.” Beverly of Graustark by George Barr McCutcheon is a novel I bought at a library book sale when I was seventeen and was absolutely enchanted with. It’s one of those Prisoner of Zenda type of improbable romances, involving tiny kingdoms in Eastern Europe and adventures in mountains. I’ve read it too many times to count.
Hazelnut Torte with Beverly of Graustark, Oil on Canvas, 8×10, $300

Color Study of Geneia and Pelee

I have been working so much lately that I haven’t painted as much as I need to. A while back I blogged my Black and White Study from the Equine Painting Workshop. I’ve repainted Geneia’s face since then because I wanted it to actually look like her, so I’m posting it again. I’ve now finished my color study, at least for the moment. I may end up making revisions after I’ve had a chance to live with it for a few days. I added a rock outcropping to the background, because the field in the original photograph was too boring. I’ve left the rocks unfocused-looking, so ithey don’t distract from the main figures, but Geneia’s face is entirely in shadow, which makes it a challenge to draw attention to it. I will ponder the problem.

Now, I will go back to my Greek Myth paintings.  In a few weeks, Matt and I will be traveling to Maine and Quebec. I would sooooo like to hit the Boston area on the way there. I’ve always wanted to visit the haunts of Nathaniel Hawthorne (click on link…..hello), especially the actual House of Seven Gables. The novel fired my imagination in highschool, not all of it perhaps, but definitely the riveting chapter about Alice Pyncheon, where she is hypnotized by the handsome grandson of the man unjustly accused of witchcraft and burned at the stake by Alice’s grandfather. (I’ve always wanted to see House made into a movie, where Rufus Sewell plays both the mesmerizing Matthew Maule and the daguerotypist, Holgrave, and Ian McShane plays his father, Thomas, who is done out of his land and his life by the greedy Colonel Pyncheon.) Hawthorne wrote the novel as a sort of expiation because one of his ancestors was involved in the Salem Witch Trials. I also want to visit the Old Manse, where Hawthrone lived with his bride (lucky girl), Sophia Peabody, one of the intellectual Peabody Sisters, the one who was an artist…..

There’s been no poetry of late in my blogs, so I will get back on track with Edna St. Vincent Millay:

XVI

Once more into my arid days like dew,

Like wind from an oasis, or the sound

Of cold sweet water bubbling underground,

A treacherous messenger, the thought of you

Comes to destroy me; once more I renew

Firm faith in your abundance, whom I found

Long since to be but just one other mound

Of sand, whereon no green thing ever grew.

And once again, the wiser in no wise,

I chase your coloured phantom on the air,

And sob and curse and fall and weep and rise

And stumble pitifully on to where,

Miserable and lost, with stinging eyes,

Once more I clasp, — and there is nothing there.

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Geneia and Pelee, Black and White Study

This was so enjoyable to do, like drawing, only faster. In the photograph, certainly the most vivid portion is the shine of light on Pelee’s haunches. However, applying the principle that the greatest contrast and detail will draw the eye, I heightened the contrast between Geneia’s hair and the cloudy sky behind and played down the deep color of the horse against the sunlit background. This technique of painting in black and white was often used by magazine illustrators, so it was easy to be thinking of a story to go along with the picture. Perhaps she is the lovely, blond Annabelle from The Ivy Tree, a superb horsewoman who rode the Yorkshire Dales.

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Equine Painting Workshop, Day Two

After sight sizing yesterday, today we made a comparison drawing in charcoal from a smaller photograph. The idea was to take comparative measurements on the photograph, such as the distance between the ear of the horse to the heel of the boot of the rider and compare it to some other distance, such as the hock of the right hind leg to the coronet of the front right hoof, then maintain the same ratios in the drawing. We were working with vine charcoal of a medium softness. I haven’t done much charcoal drawing, so this was a learning experience. I now own a charcoal sharpener (which is a bit like rigid sandpaper on a handle) as well as a tablet of charcoal paper. It’s very useful to do a preliminary charcoal drawing to establish the tonal values you will want to maintain before adding the element of color. As you can see, I didn’t work much on Geneia’s head. I was concentrating on getting the horse down accurately.

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Equine Painting Workshop at The Atelier, Day One

(I blogged the Workshop backwards so that you can read about and see the pictures by scrolling down…….)

Our instructor, Lynn Maderich, began our workshop with a lesson in “sight sizing.” I knew what that was, more or less, but had only never really practiced it. Briefly, sight sizing, whether done from life or from a photographic image, is the process of taking measurements of a subject and marking one’s paper identically. We stood at a distance of six or eight feet from our easle, which we had adjusted to a perfectly vertical position, and used a plumb line to measure the topmost point of the picture, after which we walked up to the paper and made a mark on the adjacent paper, then stepped back to measure the bottom-most point, stepping forward to mark our paper. A plumb line or weighted string hung veritcally in front of the photograph. We held another plumb line in our hands to measure the distance (again, from our vantage point, marked by tape on the floor where we would place our toes) from the plumb line to the muzzle of the horse, then stepped forward to mark our paper at the same distance from a plumb line we had drawn vertically on the paper. Back and forth we went. One can do this whether one’s paper is positoned adjacent to the image (or object if drawing from life) or at some distance from the subject. The key is to step back further, so one can look at both subject and drawing at the same time and make the comparative dimensions precisely the same.

Lynn had provided a number of black and white images to work from. I chose this foal because I liked the play of light over it’s haunches and the way it was looking back over its shoulder. Subsequently, however, I worked from photographs of Pelee and Geneia I had taken myself, because one cannot sell drawings or paintings that are copied from a professional photographer’s image without that person’s permisssion. Anything I did in paint, I wanted total copywrite of, so this was the only non-Pelee picture I did.

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