Blog

My final plein air workshop with the Bridgehampton Museum was at The Bridge in Bridgehampton. The museum included The Bridge as a painting venue for the first time in 2025. I was excited that we were offered a painting session there again this year. You could easily miss the entrance to the club while driving along Millstone Road. As I turned in, I was reminded of its days as a race track while cruising past vintage advertising billboards. 

The dramatic design of the clubhouse crowns the peak of the property allowing 360 degree views over Bridgehampton and beyond. The club's heritage as a race track site permeates the decor. Outside a sculpture of a race car driver. 

Fellow artists getting in the groove.

I chose a view facing towards Peconic Bay.

Last year I painted part of the clubhouse. This year I attempted to capture the feel of the course and panoramic view. 

Being here was such a gift. So grateful. 

"View from The Bridge" Oil on Canvas, 9" x 12"  (2026)

"The Bridge" Oil on Canvas Panel, 9" x 12" (2025)

Many thanks to The Bridge for their generous hospitality and the pastry!
As always, many thanks to Connor Flanagan and the Bridgehampton Museum.

The Southampton Arts Center was host to a number of hands on art experiences this summer. In June, I attended a plein air workshop with Howard Rose which was co-sponsored by the Bridgehampton Museum. The Bridgehampton Museum once again hosted a series of summer plein air workshops every Saturday from 10am until 1pm from June through September. Collaborating with other area museums added an expanded portfolio of inspiring painting locations. Painting in the Southampton Arts Center's beautifully renovated gardens was a joy. The recent renovation was thanks to a gift from the Paulson Family Foundation. 

To begin, Howard led us around the garden challenging us to look for a painting design with contrasting light and shadow. "There are hundreds of paintings here." he said, pointing out beautiful vignettes with every step.

I chose a spot just off one of the arched gateways with the bright sun hitting the front of the museum. My painting spot was in dappled shade, not too hot and no need for an umbrella. Finding ants in my paint box gave me a start reminding me of the richness of the plein air experience if I chose to experience it. Ha HA!

"The Old Parrish", Southampton Arts Center
Oil on Canvas, 10" x 10"

The next time I was back at the Southampton Arts Center it was for a series of workshops on Wednesdays in July with Brendan Johnston . In an addition to the flourishing garden, we were surrounded by sculpture. Most notable a bunch of silver swimming suits on stands. At least that is what it looked like to me. I loved them. The Southampton Arts Center site description of the installation, "Rachel Lee Hovnanian's Mind the Body installation transforms the silhouette of protective armor into a meditation on the dynamics of power, identity, feminism, and hierarchy." One of the artists included one in her painting. 

Brendan Johnston with an array of supplies and examples of work.

Brendan began with an introductory demo.

Getting to work.

I was intrigued by this view. Getting the architectural angles correct was the most difficult for me. Then of course it was the realization that the at the time of day that I was painting, the entire view was in shade. At the end of my painting session sunlight crept over the roof and gave the view just enough of a kiss of light. Yes! Just what I needed to include. This painting was a challenge, but a satisfying one. Lots of mixes in the burnt sienna, cadmium red families to play with in the attempt to recreate a representation of pottery, brick, and stone. 

"The Old Parrish (Red Door)" 
Oil on Gessobord, 12" x 9"

One morning we met Brendan at Lake Agawam Park.

The morning started out hazy. The view across the lake to Gin Lane and the Southampton Bathing Corp just a hint on the horizon. I opted for a closer view, towards the mostly obscured homes amongst the trees along the lake.

Beginnings

We only had one day painting at Lake Agawam. The next class session was met with drizzle in the morning, so we kept our fingers crossed and met back at the Arts Center. Luckily the weather fined up for our last day in the garden.

"Lake Agawam View"
Oil on Artefex Panel, 9" x 12"

I am grateful to the Southampton Arts Center and the Bridgehampton Museum for providing the opportunity to paint with outstanding artists and educators. I LOVED these workshops. Thank you Howard Rose and Brendan Johnston for sharing your art, inspiration, and creativity.

The hamlet of Noyac, in the village of Sag Harbor is a sweet collection of mostly smaller homes originally built as summer cottages. Diverting down side streets, there are plentiful painting worthy views along the bay. I was fortunate to spend a few days there with my plein air kit. 

I was painting with Megan Euell again as part of her summer workshops. Sessions were three days and I was able to sign up for two sessions. We painted Wednesday through Friday from 10am until 2pm. Very intense! Megan's resume includes graduating from the Florence Academy of Art, which in my dream life I always thought I would like to attend. Now that I am really living my dream life, I am grateful to be able to learn from Megan in Noyac (one step removed from Florence). 

One beauty of plein air painting is being part of the scene. A kayaker says, "hello" checks out our paintings and pushes off into the water. Shy construction workers peek at our work as they head to the head; the nearby port-o-san, which is also handy for someone outside painting for four hours! Paddlers float by on their boards. Boats cruise by followed by a flock of mallards. The high pitched whistle of an osprey draws our eye to the dead pine across the way. With difficulty we choose a view and sketch out our plans for a painting first in a sketch book and then refine it with vine charcoal on our toned substrate (canvas, board, etc.).

Preliminary sketch on gessobord

As we work on our paintings, there are so many elements that asked to be added.
Perhaps a paddle boarder?

Or a motor boat?

Or an egret? Yes, add later....

It is a result of Megan's classes that I've finally become comfortable color mixing with a pallet knife. When mixing with my brush I would often end up with a glob of unblended paint showing up when I least wanted or expected it. When you are painting outside and trying to capture a particular time of day, effect of light, the less oopsies, the better. Above, my pallet with my pallet knife blended piles of paint.

"View Towards Clam Island", Oil on Gessobord, 11" x 14"

Another day, another beautiful view. I loved this boat.

Trying not to get sea sick as the boat changes position while I'm trying to paint it. At least no one came to sail it away before I got a good start and took a bunch of photos! Experienced plein air painters always advise to get in your most important features before something changes. The light will change, the object may move, and so on....

Hello! A fisherman going out for crabs. I was reminded of a fellow salesman's phrase in my previous life to describe an easy sale, "Like a chicken wing on a string."

This summer's painting sessions were blindingly beautifully sunny and hot. Having my lawn chair, which I dragged into the shade for breaks, and water bottle a necessity. I was also thankful to have this umbrella designed especially for plein air painters by EasyL Artwork Essentials.

"Noyac Summer", Oil on Gessobord, 8" x 10"

These paintings are currently available at The Wharf Shop in Sag Harbor, as well as some by Hugh Gallagher!

Beginnings of Fall. Temperatures dipping into the 50s overnight. Osprey nests are empty. Pumpkins and chrysanthemums are appearing at the local farm stands. I'm feeling a bit bereft. Is the glorious summer really over? There's no stopping the calendar. Time marches on. Thankfully I have paintings created outdoors to remind me of how amazing this summer really was! I was fortunate to take a number of painting workshops, mostly en plein air. I absolutely loved being able to spend time with instructors and fellow students working "in the wild" to create art. A highlight reel is HERE.

MADOO GARDENS

Painting at Madoo is an extraordinary treat. You don't need a paintbrush to appreciate Madoo's unique and glorious atmosphere, but the process of painting guides appreciation. Observing the scene, sketching out what to include in the painting. Mixing paint on the pallet. Applying dark -vs- light tones.  I could visit this garden again and again. It holds many views, many possible paintings. The Bridgehampton Museum coordinated a plein air painting workshop at Madoo with artist, instructor, Howard Rose. It was a perfect August Saturday. Sunny and warm with welcoming shade. One of our fellow painting students brought us a box of breakfast sandwiches from Babes in Sag Harbor along with pastry and coffee. How lucky were we! Sandwiches set up on a trestle table in the midst of the garden, Howard began the workshop by taking us on an observational stroll.

What I do may not be for others. We all practice seduction in unique fashion. Yet my heart leans on green, for is a world-class color, at once oasis and Eden. We agree, don't we, that the green gardens of the Italian Renaissance are unrivaled, unless by that most nearly perfect garden... Rousham? "Green, green," said Lorca, "I would have you green/green hair/green branches." I take green to be not only the predominant color of a flourishing garden but the emblem of its aspiration, the barometer of its health, the very mirror of its finish. Green is its basic architecture clothed, which then becomes its every-changing form. Great gardens have been green all through, with grass walks and mossed and vined walls enclosing generous, remarkably clipped yews like a great green house of grand green rooms roofed by the light of the sky. Green is the color that springs to mind when we think of Eden and the color one most anticipates as a garden is approached. - "Notes from Madoo" by Robert Dash, Page 13

I chose the view over the goldfish and lily pond towards the mirrored welcome center building. My challenge to differentiate and make interesting all of the green! The painting was off to a good start at Madoo. I completed it back at home in the studio. I'm so grateful that I was able to spend the day outside enjoying the garden, goldfish and fellow artists. 

At the welcome center gift shop I picked up a copy of a new book about Madoo written by Alejandro Saralegui and Kendall Cronstrom. It's a beauty with photos by Tria Giovan. In the book, I saw a number of garden areas described that I missed and need to visit upon my return. One especially, the secret garden which can also be viewed from inside the Red Studio. What a spot! 

The Red Studio

"Madoo Welcome" Oil on Gessobord 8" x 10" 2026

"Madoo, Chinese Bridge" Oil on Canvas, 8" x 10" 2025

"Ginko Grove at Madoo" Oil on Gessobord, 8" x 10" 2025

TO BE CONTINUED......

Next we visit the sweet Noyac neighborhood in Sag Harbor