Jonathan McPhillips- Painting at Rock Harbor

Date: Spring 2022
Time: TBD
Location: Addison Art Gallery, 43 S. Orleans Rd (Rt. 28), Orleans
Cost: $20 per person

This intriguing show of new works also features the sketches, studies, and reference photos and notes created in preparation for the finished paintings. Studies can help an artist plan composition, color choices, light, and perspective. Please see below for an example of two stages of Philip Koch’s work.

More spontaneous than most finished works, studies can be dynamic, showing the artist’s thought process. They often differ greatly from the finally presented works. For instance, Michelangelo’s study for the Libyan Sibyl on the ceiling of the Sistine Chapel is based on a male model while the finished painting is of a woman.

Well known Cape artists will be on hand to demonstrate: Amy Sanders will work in pastel, and Andrea Petitto PhD’79 and Maryalice Eizenberg will work in oil. Paul Schulenberg and others will discuss their paintings and inspirations.

To add to this amazing ambience, Mary’s Fine Provisions will cater with sumptuous hors d’oeuvres, and music will be compliments of Scott Lariviere and Bert Jackson.

Please don’t miss this special September offering. Proceeds from the $20 admission fee will benefit the Arts Foundation of Cape Cod’s Access program to provide funding for arts-specific programming to youth with economic barriers, connecting them to cultural opportunities throughout the Cape.

Event Questions: Helen Addison
Registration Questions: Cole Johnston ’20

Philip Koch, discusses his “Sun by the Truro Door”:

“Sometimes painters need to slow down to think things through. I wanted to depict a feeling I had experienced standing in Edward Hopper’s studio and watching the first sunlight of morning flood over the studio wall. As I was relying only on my memory to envision my new painting I wanted to give the composition time to crystalize in my mind. Choosing a step-by-step approach, I first made a small preparatory oil to explore how the shapes and chords of color could best work together. Then I felt ready to move on to make a more involved, larger painting.”