Fine Art America - Sales Experiment...

This links to my Fine Art America site... more prints and originals than you can shake a stick at... I plan to eventually have that site populated with all of my art.
A new Blog at http://phils-market.blogspot.ca/ will always keep this growing market on the first page and thus always accessible.
The same information may also be found at http://chadwick.homestead.com/purchase.htm
The prices are the same everywhere regardless which gallery or site you go to. Only the cost of framing and shipping might change.
Thank you for visiting!
Phil the Forecaster

Rockport Roofs

I was painting with Bob Heddens art group in Rockport. Bob formed the Plein Air Painters Thousand Islands Region (PAPTIR) group in April 2009 to promote Plein Air Painting in the region. From May through October Bob organizes an event every second Wednesday and generally have four to seven artists. Events were sponsored by the Thousand Island Bridge Authourity-Boldt Castle (Alexandria Bay NY) in 2009 and 2011. On this particular Wednesday a band of heavy rain was approaching along a cold front so I figured that we would get soaked by 11 am.
I painted on the wharf with Bob and Cheryl. I selected a rather complex view of roofs and wharfs/ The gray sky gradually darkened over the following two hours. The Canadian flag stood out against the darkening skies - as did the brilliant fall colours. Bands of light showers swung across Rockport with a few spits of liquid but the heavier rain arrived by 11:15 am. I bailed in order to buy groceries in Brockville.

Killarney Chair

It may look like a single Muskoka chair on the granite but this was Killarney. It had to be a Killarney chair. The empty chair is either a happy invitation to come and sit awhile on the edge of Killarney Channel “ to slow down and enjoy the fall colours. For those who view the glass as half empty, it can be a lonely chair vacated by those who left with the summer. Either way, I had fun capturing the moment in oil with a rather large brush.
http://fineartamerica.com/blogs/killarney-chair.html
http://fineartamerica.com/featured/killarney-chair-phil-chadwick.html

October Forest - 2014

I had just watched the noon news regarding the senseless and cowardly terrorist shootings on Parliament Hill. I decided to paint.
October 22nd was also the day marking the 50th anniversary of the Flag Committee's selection of the single maple leaf as the Canadian flag. The selection still had to be ratified by Parliament and that was no easy task either. My friend John Ross Matheson engineered the entire process much like playing a game of survivor.
I had to stand out of the chilly northeast breeze in order to stay comfortable. This painting location was just a few steps outside the Singleton Studio. Most of the trees had lost their leaves. The red oak were still hanging on. The red cedars in the intervening field were also interesting. The deer browse them up off the ground until it becomes uncomfortable to reach for the cedar twigs. The cedars may not taste very good but it keeps them alive.
I blocked the painting in like puzzle pieces. I then lade the colour in very thick and heavy. It was fun on the small and slippery surface.

Turning Colours in Killarney - Willisville

There was frost on the roof and even some snowflakes in the air. When the sun came out it was pleasant but still chilly. This was the view looking southward along Highway 6. Apparently the Red Dog Restaurant is only a couple of kilometres down the road - just over the hill. The soft maples were starting to turn red. There was even some yellow in the aspen and ash trees.
I have these painting pants that I use for plein air work. They were a bargain and I could not pass up any great deal. The best thing about them is that they have a multitude of zippered pockets for keeping valuables such as keys, small camera, GPS and flash drives. The worst thing about them is that they have a multitude of pockets. I know the keys and computer memory sticks are in there somewhere - " I just can't find them. The solution is to always place certain items in the same pockets.

Buzzard Lake Sunset Shore

The line of showers and thunderstorms had passed Buzzard Lake allowing the sunset to illuminate the eastern shore opposite camp site 423. The lighting is magic for just a short time period and I wanted to illustrate capturing those colours in plein air. The camera cannot do justice to the brilliance and intensity of these very transient colours.
Oils on burnt sienna oil tinted foundation panel -a small (5x7), slippery surface!
http://fineartamerica.com/blogs/buzzard-lake-sunset-shore.html
http://fineartamerica.com/featured/buzzard-lake-sunset-shore-phil-chadwick.html

Thursday October 22nd, 1964 - A Day in Brockville and Canadian History (This coming Wednesday is Oct 22nd, 2014)

The Chosen One

 On Thursday October 22nd, 1964 a red maple leaf made a permanent mark on Canada. On this day, 50 years ago, the Flag Selection Committee voted on and chose the now famous Maple Leaf design as our new flag. The vote was unanimous in favour of the Maple Leaf design and it was sent on to Parliament.

The Flag Selection Committee was appointed by Prime Minister Lester B. Pearson in mid-September 1964 to find a new Canadian flag. The flag used at the time, the Red Ensign, was only unofficially Canada’s, having never been publicly approved by the royal family or government.

To manage this multi-party committee from within, Pearson appointed Leeds MP, John Ross Matheson, a proud Brockville resident. Matheson had been advising the Prime Minister with regards to a new flag since 1963 and had already put forth a design as early as May of 1964. It was Matheson who had the single maple leaf design put forth to the committee out of the thousands of designs they looked at - and it was Matheson who convinced the committee to vote for the maple leaf design.

So raise a toast and salute the flag, because today is the 50th anniversary of its first baby step to becoming what we proudly fly today!

For more information on Brockville – Birthplace of the Canadian Flag and the 50th anniversary of Canada’s flag, visit the website at www.50YearsOfOurFlag.ca 

It was a privilege to work with John Ross Matheson on the "50 Years of Our Flag" Projects. John, Bob Harper and myself designed the following.

http://1-phil-chadwick.artistwebsites.com/featured/50-years-of-our-flag-phil-chadwick.html

1478 - Forest Waterfall

The sound of the waterfall was unmistakable in the forest. I landed the canoe and started looking for it. It was exactly what I had hoped that I would find. The heavy summer rains were still draining from the Killarney highlands. This waterfall was just 30 feet from making it to Charlton Lake. The midday sun occasionally broke through the trees to illuminate the tumbling water. It wasn't a mighty fall of water but for me, it was just what I needed.
The photo was taken as the painting neared completion with the inspirational waterfall in the background. There were just a few mosquitoes but not enough to rush my plein air work along.
http://fineartamerica.com/blogs/forest-waterfall.html
http://1-phil-chadwick.artistwebsites.com/featured/forest-waterfall-phil-chadwick.html

Twisted Island

I simply turned around after painting 1476 “Killarney Foggy Sunrise” and there was another painting. The pines and twisted white cedar was all that was needed to create a composition.

http://fineartamerica.com/featured/twisted-island-phil-chadwick.html
http://fineartamerica.com/blogs/1477-twisted-island.html

Killarney Foggy Sunrise

I set up on the east end of an island. The sunrise and meteorology of the sky was very interesting. Fog and stratus was just lifting due to the strong solar heating of Killarney, even in late September. It took me a while to paddle to my painting spot even though I had started early. The fog on the slopes east of Grace Lake had Kelvin-Helmholtz curls indicating an upslope flow. Meanwhile the tops of the stratus above the mountain tops had southerly curls at their top due to wind shear. Crepuscular rays were even evident at least in a transitory fashion. There was even a white line of sun glint on the eastern horizon of Charlton Lake. Meteorologically, I had to paint this scene.
http://fineartamerica.com/blogs/killarney-foggy-sunrise.html

The Pool

This central area of Graham Rapids is a confusion of sound, foam, water and reflections. One might think that it was a simple painting to execute but they would be very wrong. It was a challenge to capture the inspiration of noise and entropy. There were a multitude of colours and reflections and I tried to do them justice. I do believe that it came together at the end using very wet paint on top of wet paint.

I spent all day at Graham Rapids. The subject matter was challenging but it is good to stretch your limits if you are able to. I used a lot of paint! http://fineartamerica.com/blogs/the-pool-.html

Head of Graham Rapids

I moved the easel to the top of Graham Rapids. I liked the reflection of the rocks and the trees in the fast water. The sound of the rapids drowned out all other noises although I occasionally felt like I heard something and that I was being watched. Margo told me that there was a sow black bear and a cub staying nearby. I never say anything but it felt weird. The sheep dog and chased the bears a couple of weeks previous.
http://fineartamerica.com/blogs/head-of-graham-rapids.html

Graham Rapids

To quasi quote the Marx Brothers, I “Spent a Day at the Rapids”. For those who didn’t remember and don’t have access to Google “A Day at the Races” (1937) was the seventh film starring the three Marx Brothers, with Margaret Dumont, Allan Jones, and Maureen O'Sullivan.
I canoed through Charlton Lake to the falls that empties Cross Lake in Charlton. There was a quaint cottage on the south bank and I was careful not to intrude although I had already met the owner and her dog. When I paint, I barely leave even footprints behind.
http://fineartamerica.com/blogs/number-1473-graham-rapids.html

Can't See the Rocks for the Trees

The rain finally ended and I decided to head out with one more canvas. I stood on the same spot as I did for 1467 Frood Lake Rain. It was sheltered from the chilly northeasterly wind.
During the time of the Group of Seven, extensive clear-cut logging and fires had decimated the forests. The quartzite of the La Cloche Mountains was revealed and certainly attracted the artists. The Group had no problem seeing and painting the rocks.
The clear-cuts are now growing back. So much so that it is difficult to see the rocks for the trees. The views from the La Cloche peaks that drew (humour intended) the Group of Seven are now obscured by the forest. It is actually a bit ironic although the forest is certainly better for the nature of the area. I saw a pair of otters and a doe and fawn frolicked nearby as I painted.
Painting at the end of a day is satisfying. It is one more kick at the can and the darkness prevents you from over-working the paint. It was quite dark when I finished so I am not yet sure how I made out.

Fine Art America - Eleven

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Frood Lake Rain

The rain had abated so I decided to try another canvas overlooking Frood Lake from the old railway bed that used to serve the local mining operations. As a meteorologist, I was prone to being too optimistic depending on what weather the client needed.
The rain started again but I tried painting under the hatch of the back gate of the Subaru. It was a good idea but the rain started blowing with the wind and it was raining even harder. Once again my canvas got soaked but I think I was able to pull off a good effort in spite of or maybe as a result of the weather. I certainly did not over work this very wet canvas.
http://fineartamerica.com/blogs/frood-lake-rain.html
http://fineartamerica.com/featured/frood-lake-rain-phil-chadwick.html

Willisville Rain

Upon returning to my easel from hiking to the top of "Tower Mountain" I decided to race the approaching rain with a skyscape. I didn't win. The gusts of heavy rain coated the canvas. I was still able to complete the painting but I got soaked as much as the canvas. I had to grind the paint into the weave through the wet on the fibers at the end.
http://fineartamerica.com/blogs/willisville-rain.html
http://fineartamerica.com/featured/willisville-rain-phil-chadwick.html

White Canoe

I borrowed one of the Charlton Lake Camp canoes - it paddled very well and I spent a lot of time and many kilometres in it. I was struck by the white canoe pulled up on the beach. The canoe didn’t actually hit me but I instantly saw my next painting. I liked the curve of the gunnels and the reflections and colours in the water. Just like snow, a white canoe is not white. Over the next hour or so the paint just flowed and I tried very hard not to get in its way. I was on the verge of wrecking some of the accidental strokes that really sparkled. I stopped and won’t touch the canvas again. It is what it is.
The bright water on the far side of the canoe is due to the sun light reflecting from the hull. If you paint what you observe, it can never be wrong even if you may not know the full explanation.

From Willisville Mountain

I drove to the trail head for the hike to the top of Willisville Mountain. The locals call this huge mound of quartzite “Tower Mountain” after the fire watch tower that once stood there.
I started out with two 11x14 canvases. The first painting is very similar to the very first painting #1462 “Turning Colours“ but viewed from a few hundred feet further up the hill. There was already a bit more colour on the trees. Ravens squawked and I flushed a ruffed grouse on the way in. I think the distant water is called “Bay of Islands” but I will need to check this.
After completing this work I hiked to the top of the mountain. It was windy and chilly and it looked like rain was on the way. There was no one else on the mountain. I found the concrete abutments for the fire tower though. It must have been quite the view from the top of the tower. 

Turning Colours

There was frost on the roof and even some snowflakes in the air. When the sun came out it was pleasant but still chilly. This was the view looking southward along Highway 6. Apparently the Red Dog Restaurant is only a couple of kilometres down the road - just over the hill. The soft maples were starting to turn red. There was even some yellow in the aspen and ash trees.
I have these painting pants that I use for plein air work. They were a bargain and I could not pass up any great deal. The best thing about them is that they have a multitude of zippered pockets for keeping valuables such as keys, small camera, GPS and flash drives. The worst thing about them is that they have a multitude of pockets. I know the keys and computer memory sticks are in there somewhere - “ I just can't find them. The solution is to always place certain items in the same pockets.

http://fineartamerica.com/blogs/turning-colours.html

http://fineartamerica.com/featured/turning-colours-phil-chadwick.html

The Notch

This view is looking southeasterly toward the “Notch”. Grace Lake is in the valley just down from the Notch. Frood Lake is in the foreground with the slightly more distant Cranberry Lake in front of Grace Lake. I watched gusts of wind approach across Frood Lake only to feel them first hand a few minutes later. It was still very chilly as I stood on the very edge of the "Road to Willisville" - sounds like one of the series of seven comedy films starring Bing Crosby, Bob Hope, and Dorothy Lamour - but this has not been made into a movie just yet.
Road to Singapore (1940) Road to Zanzibar (1941) Road to Morocco (1942) Road to Utopia (1946) Road to Rio (1947) Road to Bali (1952) The Road to Hong Kong (1962)
This is an iconic view painted by A.Y. Jackson among others of the Group of Seven. I believe this painting demands to be converted into a much larger format – something I will do this coming winter dominated by my friend the “Polar Vortex”.
I am saving up for a good camera and will post that image of this painting on Fine Art America when I succeed :>))

White Oak Shadows - at Leith

The white oak was planted by the Grade One or Grade Two class of the Leith School. Donald Gordon McKay (1899-2000) was in the class and remembered planting the tree (or acorn - I am not certain which it was). Gordon told this story to the Secretary of the Friends of Leith Church and my Tour Guide. Thus this particular white oak was planted around 1904 or 1905. It cast magnificent shadows toward Tom Thomson's grave stone. It is not that important that Tom wasn't buried there. Visitor's need a "touch stone" and the grave stone satisfies this purpose. People had left aluminum roofing nails, crow feathers, coins and even paint brushes. I left behind a very tired paint brush filled with cobalt blue paint - the same colour that Tom used to tint the "dove blue" colour of his canoe. I felt that it was appropriate. This is another slippery surface so the paint is lathered on rather thick. It was finished on location then I headed for home...

Leith Sunrise

I arrived at the Leith Church to pay homage to a great Canadian artist. The early morning sky was spectacular and I was wondering if I should take time from the long trip home to paint. The deck of altocumulus clouds was very interesting and the location was perfect. I painted.
Betty, the Secretary of the Leith Church came by and gave me a full tour. It was the right way to spend the morning.

Wilson Street Studios - Kawartha's Retreat - Painting Island

Surely this is not the real name of the island but without a map with names, this will have to do. This is the island that the Wilson Street Studio Group painted on for all of Friday, August 8th, 2014. The canoe access was easy and there was a nice rock or two to snooze on. There was even a toilet pit so everyone was happy. This view is looking westerly from my canoe and I had no option but to complete this painting from the studio. This is another slippery surface painting.