On the monthly paintouts, how do you decide what to paint? What draws your eye to a particular scene?

To me the most important aspect of a scene is the general arrangement of landscape elements. I consider "composition" to be of singular importance and a scene must show a potential to develop a pleasing design. Nature almost never provides an ideal design (though I have found ONE such scene after driving a few thousand miles looking for it!) Something almost always needs to be added, subtracted, moved or otherwise modified. But there must be a potential for a final pleasing composition.

How do you feel about critiques? Feedback? Or do you prefer to problem solve on your own? What are the three most important things you look for when critiquing a painting? Why?

Critiques, IF they are in depth, can significantly contribute to the success of a painting. (see former member Willy Jervis' discussion of the "Jervis Matrix"). (Critiques at our quarterly meetings are far too brief to be very meaningful. That is the reason we have regional critiques from time to time). Critiquing work has been one of the underpinnings of the WSLP and is an important reason for belonging to the Society. The three most important things I look for in critiquing painting in order of significance are:

1. composition
2. value contrast
3. color selection

What areas do you find especially helpful or rewarding in your art career? Do you give teach? Give workshops? Own a gallery? Author a book? Lecture? Participate in competitions (either as a painter or judge)? Describe your experiences.

At one time earlier in my painting career I taught informal classes in landscape painting in oils. Dealing with students makes an instructor much more attentive to the building blocks of the trade. You must go out of the way to concentrate on fundamental aspects of painting that can easily be overlooked. I believe teaching makes an artist a better painter.

Though most of us prefer working outdoors, do you prefer a studio where you live or maintaining a separate space? Why?

While most of the serious landscape artists would prefer to paint on location there are today, sadly, a number of constraints on this. First is the problem of safety. One cannot just go paint in the country alone anymore. Note the nurder of an artist in the Shenandoah National Park just a few years ago. For city dwellers (most of us) interested In the beauty of the rural countryside it can be a bit of a chore to pack up one's gear and head for the hills each day. No longer can you hop on a trolley car and be out in the country after a short ride. Transit time, transportation costs, and the often frustrating traffic problems, can put a damper on the enthusiasm for and the opportunities to paint on site. Thus we compromise - do some painting on location and some in the studio, the division of labor being different among artists.

Who or what got you interested in plein air painting?

Most of my early interest in painting came from a close association with an uncle who was a Sunday painter. He gave me a couple of worn out brushes and a few nearly dead tubes of paint when I was about 10 years old. That essentially launched my painting endeavors. My uncle was an outdoor painter and in later years I would accompany him (and paint with him) on my annual visits to the Berkshires of western Massachusetts. I really got my start in landscape painting with his help and encouragement.

Can you describe a comical situation that occurred during one of your painting sessions that others would enjoy hearing?

On my summer vacations to New England I stayed at a family camp in a big pine grove (just west of Charlement, Massachusetts). For an easel my uncle had hammered two nails into the side of one of our camp buildings, the protruding nails heads acting as a support to hang a stretched canvas on. My uncle was working one day with his canvas hanging on the side of the building when a large gust of wind picked up the canvas, turned it upside down, and deposited it on the ground with its thousands of pine needles. When the canvas was turned right side up you could hardly see the painting because of the mass of pine needles that stuck to it - an annoying happening at the moment but quite humorous a short time later. I think the episode drove my uncle to any early afternoon cocktail.

Do you have a favorite art quote that inspires you? (tip: go to .http://www.painterskeys.com/ for art quote source)

From painting workshops with Gloucester (MA) artist, Charles Movalli, I will always remember his oft quoted admonishment to "Be brutal, don't be subtle!". I really believe this is a fundamental aspect of painterly painting and I try hard not to overwork a painting.

Which artists (past or present) do you turn to for inspiration? Why?

I have long admired the work of Emile Gruppe, early Gloucester artist, who did such masterful and painterly paintings of New England's seacoast and countryside. Part of my attraction to Gruppe's work is no doubt a result of my New England roots, but more importantly, I just greatly favor painterly works and Gruppe's style has always fascinated me.

If you were not a painter, what activity would you be pursuing?

If I were not painting I would probably be involved with music. My father was a musician who played in dance bands of the 1920s (Yes, that long ago) and I was supposed to be a violinist at some future time. I DID develop a deep interest in popular music of my day but had little interest in the violin. My preference was for the woodwinds (saxophone and clarinet). I would often practice more than two hours a day, though my homework called only for one hour of practice. Unfortunately, I was never able to play professionally because of other commitments at the time. The woodwind instruments have long been abandoned and my "music time" is now spent largely in amateur piano playing, especially ragtime and popular music of the 1900-1950 years.

What might we want to know about you that may or may not be related to your art?

The principal non-artist-related aspect of my life is my career development as a scientist (geology). My educational journey took me from Williams College (B.A.) to Brown University (Sc.M.) and the John Hopkins University (Ph.D.) after which I worked for 39 years, first for the U.S. Geological Survey (mostly in Alaska), then the National Science Foundation, and finally, the National Academy of Sciences - with a 2 ½ year stint in the U.S. Navy during World War II.