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Artist's Statements

Emerald Necklace Series
Urban Landscapes
Botanical Gardens
Summer Series
The Marsh House
Dune Shack Series
Le Morvan - Paintings from Burgundy

Emerald Necklace Series
2005

It was a natural for me to begin a series of lush paintings on special sites of the Emerald Necklace. I asked Simone Auster the director of the Emerald Necklace Conservancy to accompany me on a photo shoot of her favorite and most significant locations of the Emerald Necklace park system. We spent a morning and drove to seven locations for the shoot. It was such a wonderful morning last June—sunny and so quiet as we went along the Emerald Necklace from the Rose Garden, through the Fens, Brookline and out to Jamaica Pond—just brilliant! I have always admired the work of Fredrick Law Olmstead and have felt so privileged to live in Boston with such a magnificent public park system.

I had been plein air painting and teaching landscape painting at the Boston Public Garden for over ten years before I was invited to serve on a committee for the Emerald Necklace Conservancy. The ENC is a non profit organization dedicated to protecting, restoring, maintaining and promoting the landscape, waterways and parkways of the Emerald Necklace park system as special places for people to visit and enjoy. Last year I also painted Gardens of the South End/ Urban Landscapes. I will be offering a portion of all sales from this series as a benefit for the Emerald Necklace Conservancy. This body of work compromises eighteen paintings.

It is so pleasurable to have lovely green spaces in the community in which I work and live. It is truly a respite.

“What artist, so noble…as he who with far-reaching conception of beauty and designing power, sketches the outlines, writes the colours, and directs the shadows of a picture so great that Nature shall be employed upon it for generations…” — Frederick Law Olmstead, SR., 1852

Anne Fitzpatrick
December 2005

Urban Landscapes
September 2004

This body of work began germinating in 1995 while I was establishing my studio at the Brickbottom artist building, artist lofts/studios which formally had been an A&P bakery and cannery building in an industrial area in Somerville, MA. As a landscape painter, it occurred to me that I would need to bring a “patch” of a green garden with me in my new studio. I purchased wonderful statuary, garden ornaments, trees, and an assortment of plants to create, initially, an atmosphere of an urban garden. This was a start, and for the five years I was painting there, my interior was a respite in an urban/industrial setting. I began offering plein air painting workshops at the Boston Public Gardens and dedicated myself to painting en plein air whenever the weather permitted! When I moved my studio to the South End I created my own “urban garden” adding bistro chairs to my interior vignette.

Last year I painted a series from Palm Beach, “Botanical Gardens.” This project is a by product and continuation of my passion for landscapes, gardens, statuary, and architecture.

It seemed a natural progression to paint the Gardens of the South End. I was traveling during the 2004 South End Garden Tour which benefits the South End/Lower Roxbury Open Space Land Trust. Upon my return, I contacted them to see if they had photographed the gardens, and would they make some photographs available for me to paint from. They were immediately interested in accommodating my request. It was then that I was compelled to offer a benefit for the Trust. It is so rewarding to show my related paintings during the South End Open Studios. The pictures in this series are inspired by photographs of the Concord Street fountain and park and the combined gardens at 5-9-11-13-15-17 Wellington Street, taken during the 2004 garden tour.

Working in my studio, I reflected on the compositions of each picture and began the cropping process to create new compositions. I realized that I wanted to capture these stimulating images in a monochromatic format, choosing ink and washes on archival paper. I call these works “ink vignettes.” The paintings are dramatic and yet have a visual ease to them.

This body of work will continue to fifteen paintings. My enjoyment of painting these gardens has been enormously enhanced as I pass so many of the gardens on my daily walk to and from my studio.

It is so pleasurable to have lovely green spaces in the community in which I work and live. It is truly a respite.

Anne Fitzpatrick

Botanical Gardens
May 2004

This body of work began germinating during a trip to Palm Beach in March 2003. I was enchanted by the lush gardens and landscapes. The statuary and elegant architecture exclusive to Palm Beach captivated me. I stayed at the magnificent Brazilian Court. The grounds and fountain plaza were breathe taking and inspirational, especially at night. This experience was the inspiration for “Nocturnal Fountain.”

I photographed various views of the grounds, Pan’s Garden as well at the Four Arts which were magnificent. I also was drawn by, and recorded, many of the private home’s plantings as well as the Breaker’s landscape.

Once back in my studio, I reflected on the compositions of each picture and began the cropping process to create new compositions. I realized that I wanted to capture these stimulating images in a monochromatic format, choosing ink and washes on archival paper. I call these works “ink vignettes.” The paintings are dramatic and yet have a visual ease to them.

Henry M. Flagler had an extraordinary vision and hired the architect Addison Mizner to create and design his vision. The results of their collaboration are pure visual magic. The small town became one of the most elegant, beautiful and architecturally important places in the world. I am grateful for their generosity and talent that created such a glorious and stimulating place for a painter.

I will visit often for renewal and inspiration.

Summer Series
2004

Summers in New England are spectacular and pass far too quickly! Knowing how beautiful our summers are and how short they seem, when winter envelops this area, I decided to take advantage of a summer schedule that allowed me to paint to my heart’s desire. It was my goal to be plein air painting each sunny, glorious day and that is just what I did!

“Summer Series” is a combination of gouache paintings and ink vignettes on archival paper. In August, I spent four days at a friend’s farmhouse in Jaffrey, N.H. It was majestic viewing and painting Mount Monadnock from a variety of locations during this retreat. June through July brought me to Gloucester and Magnolia for three days, Amesbury, Plum Island in Newburyport, Ipswich, Marblehead, Manchester by the Sea and Beverly Farms. What a summer of divine weather and visual delights!!

Enjoy.

Anne Fitzpatrick

The Marsh House, Ipswich, Massachusetts
July 1998

Saturday

The phone rang with an impromptu invitation to visit a friend on the North Shore. It was a glistening sunny clear warm morning. As the conversation evolved I learned my friend had been painting at the Marsh House in Ipswich, MA over the 4th of July weekend-what fun! We decided to bring our paints and swimsuits and leave early to enjoy the day.

Once in Essex, Nan and I stopped at a farm stand to purchase a pot of "marigolds" for our hostess (they later became the subject of a marvelous still life painting!). We passed the sign for Cranes Beach and past the wonderful apple orchard until we came to a dirt road and found the markings to follow to the Marsh House- what spectacular views of the marsh, salt water inlets, islands and the ocean. It was majestic.

We watched as she put together a magic breakfast fete of strawberries, eggs, breads & jams from the apple orchard and rich hot coffee with fresh cream. Ah the joy of getting an early start to the day!
As we collected at the table I imagined Gauguin and his painting companions at a Pont Avent gathering over a meal with stimulating conversation, a spectacular setting creating a welcomed respite from the fast paced urban world. There is an ease and simplicity that only exists at a summer cottage in the warmth of those few delicious months between May and September.

Marigold, Nan and I cleared the remains of breakfast and set up our paints and easels. What a day. The light was perfect, the sun beat down on us as we painted the afternoon away—sipping iced tea, sunbathing and conversing. I finished one painting and got a great start on another—I knew I needed to return and was fortunate to have the time and invitation that week.

Wednesday

Marigold and I got an early start and decided to visit the catering commissary of an old friend Ariade Clifton in Essex to collect a picnic lunch on the way to paint at the Marsh House. We arrived at 10:30 a.m., and quickly found my spot, set-up and painted until lunch. We then leisurely dined on meats, cheeses, French baguettes and wonderful seasonal fruits. I finished my second painting and set up a diptych. The expanse was so glorious I wanted to capture it in a bigger way. I painted until 3:30 when without warning the sky blackened, opened with an outpouring of rain accompanied by thunder and lighting. I painted through as much as I could without damaging the painting.

The experience of painting through a storm was exhilarating- I wanted to finish and that desire created an adrenaline rush- the threat of the road flooding and the possibility of my auto being stuck in the mud was quite real and was my motivation to stop.

The outcome of this experience was a fantastic movement of color, rapidly changing on the canvas, creating tremendous atmosphere. I loved the drama of that afternoon and capturing it on canvas was a thrill!!

There were a number of things that had to happen-quickly in order to secure the house during the storm and until we could revisit. We accomplished all that was necessary and gingerly drove the auto off the dirt road out onto a paved one and continuing back to Boston. What an incredible day- so invigorating and exciting to see so much change so quickly the color, light, sky, water, air and landscape in a flash had darkened and became dense. I completed that painting in August. That was it.... I was entranced by the beauty of the Marsh House and began a series of seasonal paintings.

In September I was accompanied by another art friend Mark for a photo shoot. To prepare for the colder fall weather when I would be unable to paint for an extended period outdoors. When we arrived that Saturday morning I was amazed at just how colorful the lush green marsh grass now was golden in color and the texture had gone from moist and lush to dry and thick brush. The reds, golds, oranges and tawny browns replaced the blues, greens, purples and mauves of July- the change was inspiring! I will continue to return to the Marsh House and continue to paint the mesmerizing expanse.

Dune Shack Series
1997

“The Great Beach is not only a metaphor. It exists geographically as the wild backshore of Cape Code, and I am lucky enough to have lived and painted there every summer for the last twenty-seven years.” — Jan Gelb

One week in the Margo-Gelb dune shack/Fine Art Work Center, Peaked Hill Trust Artist-in-Residence, Provincetown, MA

My journey began July 18th as I packed my rental car with all the supplies and provisions for my "dune" stay. A dear friend hosted a soiree in Osterville, and sneak preview of the film Unconditioned Love about Henry Henshe and Hans Hofman's painting school in Provincetown.

Saturday, July 19th—I purchased my perishables and traveled Route 6 to Provincetown. At 11:30 I found 555 Commercial Street to visit with a lovely friend. She and her friends toasted to my success and "return" from the dunes. Neil, the PHT caretaker, brought me to the dunes. Murray Zimiles, his son, and a guest greeted us at "Boris." They helped me get my belongings/supplies to the shack—it was amazingly well stocked.

The views were absolutely breathtaking! I relaxed, cooked and settled into the pace of the dunes. I found the silence rejuvenating. The outhouse, water pump, and kerosene lamps were challenging. I derived a new respect for running water, electricity, and our forefathers!

As I sat on the bench in front of two large windows, I realized the panoramic expanse was hypnotic. The wind blew and whistled through the door and windows. The field of tall grass moved and rippled, the humming birds, osprey, and sparrows became my neighbors—this peace is what I was seeking—it provided the environment to create.

Sunday, July 20th—Michele and Neil hosted a birthday party for artist, Adaline, at a nearby shack "Zara." This was reminiscent of a turn-of-the-century salon. Writers, artists, actors, singers, and dune enthusiasts gathered to enjoy great food, drink, and wonderful conversation—I learned so much about the dunes and the art community in Provincetown. What a civilized say to start my week in the dunes!

Monday, July 21st to Thursday, July 24th—Studio time—no distractions! I had mentally prepared by approach to painting the natural beauty of the diverse landscape surrounding me. The shack had decks on all four sides of the 9' x 16' structure, creating four views plus variations. I began by painting the interior and then the view from the large (northeast view) windows facing the ocean in black ink and washes. Then I painted the southeast view. Rosa Rugosa (sea roses) surrounded two sides and were sprinkled over the landscape throughout all my views. The dunes were 30 feet tall in areas, tall blades of grass and shrubs abound, creating tremendous texture and layering leading to the ocean. Tireless opportunities to paint here, the light was amazing, and the colors changed dramatically during the days. As a tropical hurricane approached, the vivid colors from sunny days faded to muted deep hues.

The solitude of this experience was remarkable and enriching. I was undistracted and free to paint, write, read, walk, explore, and truly experience the unique life of the outer cape dunes. I will always relish the experience—I was stretched and renewed.

July 20, 1997

The sun set spectacularly at 8:10 p.m. and the full glowing moon rose shortly after. It was amazing at opposite ends of my tiny shack. The sky and earth celebrated with me. With color, shape, and forms which illuminated in the dark, still night. MAGIC! I felt so safe, tired, and free in my world for one week."

—Anne Fitzpatrick, journal, July 1997

Boston Globe Article, Endangered Habitat, June 10, 2004

Le Morvan - Paintings from Burgundy
1997

“The Morvan converses with the soul. It speaks of peace, silence, life that is neither a matter of detachment or withdrawal but rather one of promise and opening.” — Jean Serevin, Academy of the Morvan

Thirty days in la Bourgogne / le Parc Naturel Régional du Morvan.

This journey began January 13, 1997 as I drove from Paris to “Le Château de Lesvault” in Onlay, France located in the center of Burgundy, to participate in an Artists Retreat. The landscape was stunning and dramatically different during that four hour drive. Sunlight and the weather conditions were key elements in what I viewed. It was bitter cold. The trees and shrubs between Auxerre and Clamey were totally ice encrusted. Chilling fog hovered over the fields and vineyards near Corbigny. Ascending the winding drive to the Château, my immediate impression was one of ease with it’s natural beauty and peace with the spiritual ambience of this elegant residence.

As a painter I focus on the the contrasts and relationships of color, light, shadow and form. Chambre n°4 / Studio provided three sets of 19th century French six-paned glass windows from which to paint. I concentrated on two views:

1. Le Fleuve “La Dragne-sud”
2. Le Jardin-ouest

Each glass pane provided a cropped image view of the landscape. At first I saw the whole interior, including the window frame, the landscape was secondary (panels # 4-11). As I lived in the space and within le Morvan, I began to see the subtle layers of the landscape and the windows no longer existed (panels # 19-52). I was one with the landscape.

My tools also varied during this process. I began with monochromatic ink washes for the first five days. Timidly, I explored the landscape, walking trails, grounds of the Château and the villages of Onlay and Moulins Engilbert. Within a few days the temperature reached 50° degrees, presenting the opportunity to Plein Air Paint (panels # 4-6). Having recovered from jet lag, the adventurous spirit within me awakened! I began painting in color. Watercolor washes were the medium for the following five days, then I incorporated charcoal and pastels into the series. I explored the remarkable surronding areas and really discovered the magic of le Morvan, la Bourgogne and la Côte d’or !!

My daily walks increased to one and one half hours as I studied the hills, mysterious forests, farmland and spectacular panoramic views from Le Mont, Lesvaux, Poiseux, les Champs des Clés and la Campagne. I felt the spiritual life that exists there and connected with my Celtic roots and could hear the echo of galloping Connemara ponies over the fields and hills of this timeless place. My imagination had been inspired by visiting the Archaeological dig at Le Mont Beuvray, the memory of Julius Ceasar who had made his headquarters for the Gaelic Wars there, the ancient Roman in Autun and the healing waters which were rediscovered by Napoleon III at Saint-Honoré-Les-Bains.

The grounds of the Château became alive with budding Forsythia, Hortensia and Perceneige. Simultaneously, my color began to bloom as I worked with pastels and charcoal. I bravely introduced gouache on paper and board (panels #35-52). Adding color was exhilarating. A momentum grew from the method of subject selection. I varied each image by painting two panels of the six paned windows until all views were completed. Then I began moving my painting surface in 25° degree increments to create new views of the landscape to study. At this juncture I had completed forty-four panels.

All the creature comforts and la Gastonomie locale had been provided at the Château. I was engulfed and renewed by the silent peaceful spirit of le Morvan, it’s simple life, glorious views and the joy of creating, subtly changing what I had seen to paint.

The last two images (8 panels # 45-53) were completed after a sojourn to the Val de Loire. I savoured every detail as I travelled from Blois, Chambord, Cheverny, Beauregard, Chenonceau, Amboise, Saumur, Chinon, Azay le Rideau and Montbazon. Impressed by the size of the châteaux of the French Renaissance, gourmet foods and superb wines, these paintings were developed from a bravado perspective which emerged during this journey.

“Change presents opportunity...the door opens cautiously.
Winter’s biting chill vanishes...promising a new season.
Crossing the threshold...spring appears.
Buds blossom then bloom...new life thrives."

—Anne Fitzpatrick