The Night Shift #2 ...

Night Shift #2 - 2015.

11" x 30". Oil on Gesseoed Sandeply Panel. 2015.

Copyright.

Click here for inquiries on pricing and availability.

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One streetlamp.

One trailer.

One parking area.

All converge to make for a lonely 

and yet rather inviting scene. 

I would like to add that this

painting has been difficult

to photograph.

Please stay tuned for more 

what's new from the studio.

Cheers, ~ Polly ~  

Painting the Mystery of the Night ...

Night Shift #1 - 2015.

17 1/2" x 7 3/4". Oil on Gessoed Sandeply Panel. 2015.

Copyright.

Click here for inquiries on pricing and availability.

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10 years ago I started a night scene series of the town I live in of, Uncasville, CT. I enjoyed the series immensely because it was a new challenge for me and while it lasted, and for various reasons I abandoned the series shortly after it was started, for reasons I have since forgotten but, it was series that was never far from my mind and heart ... because while driving around town the series would always whisper to me saying ... 'Over here. Paint me!' ...

Those whispers were telling me 'Pull the Light out of the Dark'. It would tell me where to look; look at the contrast of values, look at the fantastical range of colours, look at the seemingly endless ideas for compositions, look at how you can use the paint itself, and it would tell me to feel the mysteriousness of the night - it all just pulled at my very being!

In my woodshop, I've had a number of varying sized rectangular cut-off panels around for a while, as I would pass by them, I would contemplate what to do with them, and then it struck me, the night scenes were no longer soft whispers but, almost screaming at me for attention! 

As I slowly rekindle this deep love and affection for night scenes ... I can feel its glorious power it's almost intoxicating, but at the same time it's opening my eyes to the magic and mysteriousness that is only found in the night ...

Please stay tuned for more what's new from the studio.

Cheers, ~ Polly ~

Artist on Artist Interview with Chris Duncklee

For this month's 'Artist on Artist' interview it gives me great pleasure in featuring New England maritime artist Chris Duncklee.

This interview is unique because it was Duncklee who approached me seeking an interview. I first encountered Duncklee through our network of mutual friends via Facebook. At the time I was unaware that Duncklee was an artist himself let alone a maritime artist, and who has a great admiration for the late and infamous maritime artist Capt. Ellery Thompson and his work. It was interesting to discover that Duncklee's style of maritime painting is very similar to that of Thompson's work, however Duncklee has developed his own style of painting through his use of light, colour and composition while Thompson's use of light, colour and composition is a bit underdeveloped. In my mind, Duncklee's work bridges two art genres, folk art and maritime art.

And now without any further adieu here is Duncklee's interview along with selected works .....

Artist on Artist Interview with Chris Duncklee
Maritime Painter

Chris Duncklee

(Duncklee with a print of his painting of the Dragger 'Old Mystic', off of her Starboard bow) 

Polly - Hi Chris, it's a great pleasure having you here, and thank you so much for being part of the 'AoA' interview project! Ok, let's get started ... How are you doing today? Would you mind giving us a little background about yourself, where you're from, where you live now, etc? 

Chris - I'm doing fine Polly. I live on a mountain Farm that I built when I was in my 20's. The Farm is on the south side of a mountain and has commanding views of the Contoocook River valley and neighboring mountains. The Farm also over looks the lake I spent summers on with my Great Grandparents, Grandparents, and Parents. The cabin is still in our family and the 5th generations of Duncklee's enjoys it now. I was born and raised in Stonington, CT. My maternal grandfather being a shipwright at Stonington Boat Works building the famous Stonington Draggers and Motorsailers. His wife my Vavo (Grandmother in Portuguese) lived in Stonington Borough and spoke both Portuguese and English. As a boy I spent much time around the docks and fishing boats in Stonington, and admired how Cap'n Ellery Thompson's paintings seemed to bring them alive in oil paint. I had the pleasure in 1997 of painting a bow first painting of U.S.S. Constitution for then Mayor Tom Menino to hang in the Government center in Boston, Mass., for celebration of the 200th anniversary of her launching.

'Lumpin out Old Mystic in Stonington' 
16" x 20". Oil on Canvas. 2010. ©

Polly - Could you describe your earliest memories of when you knew were an artist, and how you discovered your affinity for maritime painting?

Chris - Polly it seems that I was born to paint the sea. I vividly remember coloring on the wall of my closet, trying to draw a Clippership at the age of 3. I also remember the wooden spoon that corrected me from doing it again, LOL. I drew in pen and ink, and painted since I was a very small boy. I mostly painted Draggers, Whalers, and Farm scenes.

'Vargas Barn'. 
Pen and Ink. 1986. ©  

Polly - It's a good thing the 'wooden spoon' didn't deter you from pursuing your painting! Speaking of which, your painting style is very distinct and shares many similar characteristics to that of Captain Ellery Thompson's works; in your own words how you would describe this style, and what was it about this particular painting style that intrigued you that you adopted it as your own? 

Chris - Ellery had a way of making the boats appear to be in motion, and was very good at the perspective of a boat in the water. I have always said all the color in the world won't fix bad perspective. One of my pet peeves of Ellery's work was his lack of light control, which to me sets the mood. I guess I had an obsession with correcting that in my work. I have a saying that if you light a match and let it burn out, that is the amount of time I have to actively engage one into a mood or feel for the piece. If it takes longer than that and have left one reaching, I have failed. I also have been strongly influenced from New Hampshire artist Maxfield Parrish, his low horizontal light leaves one with a feeling that the toil of the day is done and it is time to rest.

      

 'Charles W. Morgan laid up in Fairhaven'. 
24" x 36". Oil on Canvas. ©

Polly - Could you tell us about your art education and training; were you formally trained, or are you a self-taught artist?

Chris - I never really had any formal training, I had an Aunt and a friend of the family that were artists and spent time helping me with the mechanical technique of painting. I have a condition known as Synesthesia, where as I learn I have to transfer it to color and shape to get it to stick in my mind. I had a fellow musician tell me that when he saw me taking notes on how to play a song on bass by using colored symbols and shapes to notate sound. I learned when I was young the painting part of art is easy. It is learning how to see that was the challenge for me. 

'Coming Home'. 
24" x 36". Oil on Canvas. 2009. ©
(Private Collection to a Captain in Cape May, N.J.) 

Polly - That's fascinating! I wonder how that effects your colour choices on your palette. Could you tell us about your palette, do you use a limited palette or not, and what colours do you use and why? 

Chris - My palette is different for every mood I try to create. Some of my paintings have a palette of White, Black, Prussian Blue, Yellow Ochre, Yellow, Red. I find if I brush in the Ochre on the canvas into the blue it gives the water a translucent quality. I also sometimes use a palette that has no blue at all. It consists of White, Black, Yellow, and Ochre. One of the things I have found with painting water is always make your own greens, never use green from a tube as it will flash in the water in an unkind way.

 Duncklee's paints and brushes, and model sand box.

Polly - Tell us about your studio space; what is it like, is it overall tidy or messy, what kinds of things would a visitor see in your studio, and what kind of studio practice/philosophy do you have? Do you follow a set schedule or work as time permits? 

Chris - I live in my studio, it is in the basement, with an exposed southern wall which has a kitchenette and full bathroom. The main part of the studio is 20' x 20'. I have all my books, models, plans, etc in there with me. I have a box of sand in which I set the scale models I build from blueprints. This gives me an intimate knowledge of my subject. My easels are set up and ready to work from as the spirit moves me, and set so I can view them from my bed at all times.

Duncklee's studio space.

Polly - That's so interesting that you make your own scale models, not many maritime painters do that. Could you tell us a little bit more about your model making process? 

Chris - I found that so many artists that painted boats and ships had a hard time actually capturing the proper way a boat sits in the water. I too had this problem so I decided when I was asked by Boston's Mayor Menino to paint a bow first view of Old Ironsides for him that I best step it up a notch. This started with a large model of her and I set her in sand and sketched her as is it were on the water, a sketch that turned into a large painting that hung in Boston's Government Center for the ship's two hundredth anniversary. My true love for boats has always been the Stonington Draggers that were built at Stonington Boat Works where my grandfather was a shipwright. I had put off building a model of a Dragger because I really didn't have the confidence to do it. A few years ago I was contacted by Jim Spellman Jr the son of Stonington's first selectman James Spellman for whom I had planted hundreds of street shade trees in Stonington, Mystic, Pawcatuck as a young man. Jim Jr had told me that his dad loved my paintings of the Draggers. Jim Spellman Sr. was a champion during his tenure for the securing the town docks for the public and the local fishermen. Jim Sr had received a scale model of Rosemary R as a gift from the fishermen for his efforts. Jim Jr. told me his dad had asked him to give it to me when he passed, which he did. I restored that model and posed her in sand for a photo shoot of her in all her glory. I then remembered that I had a set of blueprints of the famous 55 foot Draggers built and fished in Stonington. I decided it was time to build one of my own at the same scale as Rosemary R model. Building the Stonington Dragger Tip Top took me about a year to build. It also gave me an intimate relationship with the sheer and lines of the boats. I also built a model of the eastern Rigged dragger Luann that I had the pleasure of playing on as a boy in The Boro. 

'Dragger New England in a Storm at the Gully in the 1950's.'
20" x 16". Oil on Canvas. 2013. ©

(A gift I gave to Jim Spellman Jr. as a thanks for gifting me a scale model of a Stonington Dragger) 

Polly - If you could try your hand at another artistic medium or genre; what would it be and why? 

Chris - I, at one time really enjoyed Pen and Ink, but found that I really could not produce the feel I wanted with out dramatic color and light. I love oil paint. The other medium I really enjoy is actually building full sized boats at my Timber Frame shop.

'Covered Bridge'. 
Pen and Ink. 1984. © 

Polly - If you could apprentice under any artist dead or alive, who would it be and why? 

Chris - It would be without a doubt New Hampshire's Maxfield Parrish. His ability to bring light through a painting with technique was other worldly. He was more than an artist, he was a luminist. My other would most certainly be Ellery Thompson. Although he called himself a primitive, he had the ability to put a boat in the water and not on the water. Ellery lived what he painted and it showed.

'Charles W. Morgan Leaving New Bedford 1941'. 
24" x 36". Oil on Canvas. ©

Polly - Tell us what your thoughts are on being an artist and what has been the most challenging thing? 

Chris - For years I thought being an artist was more of a birth defect than a gift. It took me a while to incorporate my art into my life in all aspects of it. My art is reflected in my paintings, my timber frames, my wooden boats, and my life on the farm I designed and built when I was in my 20's.

'Scalloper Ellen Marie'. 
24" x 36". Oil on Canvas. 2013. ©

Polly - That is interesting you say 'birth defect' in regards to being an artist, it makes me wonder how many other artists feel the same way, I know I felt way as a kid - which leads me to ask; who has been your greatest support?

Chris - The biggest supporters of my art were my paternal grandmother and my mother. They made sure I always had the supplies I needed as a child. I would have to say my 2nd ex wife was also a huge supporter of my work and always encouraged me to paint.  

Duncklee's first attempt at painting at the age of 13. 
Acrylic on Board. 1977.

Polly - Could you tell us a little bit about your showing and gallery experiences; in general what it's like for you? And do you have any advice or pointers on those topics.

Chris - I have had the opportunity to show in The City of Boston's office of Cultural Affairs gallery in the early 1990's. I was afforded a 2 week show hosted by the city. This show lead me to painting a bow first view of USS Constitution for then Mayor Tom Menino's office in Government Center Boston. The showing of that painting coincided with the 200th anniversary celebration of the ship. I have shown in numerous restaurants, banks, businesses, and galleries throughout New England. I have a website that has successfully enabled me to sell my work worldwide. This coming August I have a show at Stonington Ct's Noah's restaurant which will feature the Fishing Draggers from the era that I grew up in the Boro. The only advise I have for an artist is: Consciousness and Energy create the nature of reality. Which means as artists we dream and paint = Consciousness. But we need to be confident and be our own biggest fan and do it with passion and don't be afraid to market yourself, be more than just the artist, go out and get it! Make it happen!=Energy. Your success and being able to take a bigger piece of the pie when marketing = Reality.

'Old Ironsides defeats HMS Guerriere'. 
24" x 36". Oil on Canvas. 2010. ©

Polly - That's definitely good advice. Keeping that mind, if you could spend the day with one person dead or alive, famous or not, who would it be and why?

Chris - If I could spend a day with Ellery Thompson as an adult I would ask him about his passion for the wooden boat and about his style.I was a boy when I saw him and didn't have much then to say to him ,although my mind was full of questions, but I was very shy.

 'Double ended Fishing Dragger Fairweather'. 
24" x 36". Oil on Canvas. 2012. ©

Polly - If you were conducting this interview what's one question you'd ask and why?

Chris - I can not think of anything, you did a fine job covering all the bases.
  

 'Stonington Dragger Old Mystic'. 
Oil on Canvas. 1998. ©

(Duncklee's painting was featured in an article he wrote for Woodenboat Magazine in 2002)

Polly - Well, thank you so much Chris for this wonderful interview ... as we close out do you have any final thoughts you'd like to say about you and or your art, anymore wisdom you may have to offer? 

Chris - All I can offer is for artists is to become their subject, get to know it. If it is a barn you paint, know what's under its skin i.e., Timber Frame. If it's a tree learn about what species it is, its growth habits. If it is a boat, build a small one. Have an intimate affair with that which you paint. 

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To learn more about Chris Duncklee please visit his website ...

www.christophersduncklee.com

Facebook: Christopher S. Duncklee

Up-Coming Show: August 2015 - Noah's Restaurant of Stonington, CT.  


*Please feel free to leave a comment.

Fresh off the Easel ...

Binoculars #193 - Sunburst over North Dumpling Lighthouse.

20" x 20". Oil on Gessoed Sandeply Panel. 2014. Copyright.

Available through the Trade Winds Gallery. 

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This piece came together rather quickly to my surprise
as compared to the average rate it's been taking me to finish pieces this year.

The reason for that is because, over the past years I've taken it upon myself
to put a little more 'effort' into my work ... giving it that 'something'.
which has been beneficial for the most part.

So, it's rather nice when a piece comes together unexpectedly!

And with that .... the painting is of North Dumpling Lighthouse
nestled between the North shores of Fisher's Island (New York)
and the Southern shoreline of Groton Long Point, (Groton, Connecticut).

Please stay tuned from more what's new from the studio!

Cheers, ~ Polly ~ 

New Work: Words from the studio on Binoculars #192.

Binoculars #192 - The Hang Out

22" x 22". Oil on Gessoed Sandeply Panel. 2014. Copyright.

(View from Napatree Point, Watch Hill, RI)

Update: (Jan 2, 2014) This piece is no longer available.

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I will admit ....

This piece struggled to come into its very own.

There was much resistance from it along the way.  

At times, it's as though it didn't want to be created!

I never felt such resistance in a piece before.

There were times when 'I' was ready to paint 

but suddenly I found myself taken away from the piece,

like a parent losing their grip of their child's hand 

in a crowd of people.

There were times where things seemed to be going well 

only to find out actually things weren't going well. 

Everything in its creation mattered to me.

But ....

There were definitive moments when 

  this piece just wouldn't have it!

So, it was handled with a deliberate

sense of not caring ...

And that's where the painting showed itself!

It grew in leaps and bounds with those few moments!

It showed its magic to me!

Please stay tuned for more what's new from the studio!

Cheers, ~ Polly ~

Artist on Artist Interview with Rex Stewart.

For this month's 'Artist on Artist' interview it gives me great pleasure in presenting renowned New York / New England Historical Maritime Artist and Craftsman, Rex Stewart. 

I first discovered Stewart's work through the FB group 'All Things Nautical', in which we are both members. What caught my attention to Stewart's 'All Things Nautical' postings was learning that he is the creator of the ship models in which he shares in the group. Stewart's attention to detail is highly impressive. Another fascinating aspect about Stewart is the extensive historical and personal content he provides with each ship model, or painting, or drawing. Stewart is a quintessential maritime artist, not only is he a supreme ship model maker, but he is also a highly skilled draftsman and painter as well.

And now without any further adieu here is Stewart's interview along with selected works ...

  Artist on Artist Interview with Rex Stewart

New York / New England Maritime Artist and Craftsman.

Polly - Hi Rex, it's a great pleasure having you here, and thank you for being part of the 'AoA' interview project! Ok, let's get started ... How are you doing today? Would you mind giving us a little background about yourself, where you're from, where you live now, etc. 

Rex - Today, I'm fine...and, upbeat as usual. There's no absolute place to begin. However, I am a native of Albany, New York, which is the last major city on the Hudson River and the Capital City of New York State. I currently live in my old neighborhood of Mansion Hill, just around the corner of Governor's Mansion and the large Cathedral Church where I once served as an altar boy during the 60's. Prior to home, I lived in Massachusetts for several years on the premise of exploring New England's antique centers, art facilities/galleries, and maritime. 


Polly - Can you describe your earliest memories as to when you knew you were an artist, and how you discovered your affinity for model-making? 

Rex - My interest in art began in Second Grade at Public School No.2 which was around the corner from the Capitol Building. I was fascinated with its architecture back then, always visiting before going home after school...especially the intricate carvings at the 'Million Dollar Stairs' area.  When the Governor declared to have a one square mile area of our neighborhood removed to rebuild the Empire State Plaza, our family had to relocate and I was enrolled in Catholic School which was located four blocks on the same street where we formerly lived. It was there, at the Cathedral Academy, where my art advanced. It was also there that my ship modelling skills developed when one of our classroom assignments was a project to build a Viking Ship. 

"Flight of the Gulls - Period: New England circa, 1904" . Wood Sculpture. Scale - 1:12.

Polly - What was it about the Viking Ship that intrigued you so much and could you tell us about your later art education and training; were you formally trained, or are you a self-taught artist? 

Rex - What I found intriguing about the Viking Ship Project, while attending the Cathedral Academy, was that we were required to research this vessel and create a model of it, using whatever materials were available. Since the Russo brothers owned stores at each end of the our residential block, it wasn't difficult to get cardboard from them. I used that material to produce a detailed model of Leif Erickson's ship and won top honors. Sadly, this was in the Fall of 1963, two weeks before my 9th birthday, November 27th, and five days prior to President Kennedy's assassination.

It was the ship models in his Oval Office that inspired my maritime interest as a Fourth Grade student. I studied vessels even further after the tragedy, producing detailed drawings of sailing ships which caught the attention of the Nuns and Father Hubbard. That winter of '63 I was recommended by Hubbard to study art at the Cardinal McCloskey High School which was down the street adjacent to the Governors Mansion. Such a privilege granted me opportunity to develop skills which guided my direction to explore, research and experiment with materials at a higher level -eight grades in advance. In 1967, attending a predominantly Italian Catholic School, Saint Anthony's, I received a scholarship from the Women's Council of the Albany Institute of History and Art to study in the Adult Class system. I had just turned 13. I created my first nude from a live setting. The drawing was purchased by the model who was extremely impressed with the likeness. At first I felt awkward being in a room with talented adults; but after a small pep talk from instructor John Rosutto, everything worked. My greatest fascination was having the portrait bought by the subject before I left the studio. It was that event that made me aware that I was destined to be an artist. From that point on I decided to experiment with different mediums and taught myself with, of course, reference materials I bought from the art store and/or borrowed from the city libraries. 

"Albany" 

Original scale model of the famed Hudson River steamboat as she appeared in 1893 after her rebuild. 

Polly - Tell us about the beginnings of your maritime art career and how it has evolved?

Rex - After the Albany Institute, there were no other art schools I attended. Much of my art began to develop as I was commissioned by the Albany citizens which started immediately after I acquired three paper routes. Two were morning routes before school; and the third, after school. On these routes I would occasionally bring my portfolio and show my work to my customers and receive commissions from them which varied in subject matter and mediums, re: pencil, pen and ink, acrylic and oils. 

As these commissions prospered during my early teens, so did my reputation as an artist. Several articles were written in the Region's newspapers and more work came from areas beyond the Capital District. At 17, I quit school and was hired by the Albany Savings Bank. It was there, after having my first one man exhibition in the main lobby, that I began to receive corporate and private support. Many commissions came from bankers, lawyers, business executives and politicians during and after my tenure at the bank. 

The Chairman of the bank encouraged me to further my art career with a paid scholarship to attend the local University where I remained for a year. During my year's tenure at the University, a board member from the Schenectady Museum learned of my work and arranged a visit to view the pieces. Impressed, he and the Director, offered a one man show, circa 1979.

"Washington Park." Pastel on Parchment. 24" x 36". 

Polly - You are fortunate to have had a solo show early on in your artistic life (many congratulations to that!). Tell us about your studio atmosphere and your routine/approach: Is your studio at home or elsewhere? What's your studio like; naturally lit, tidy, and organised?, What is your work schedule like? Is most of your work commissioned based? Do you listen to music while you work and if so what?, etc ... 

Rex - Regarding my studio, it's in-house with considerable natural lighting. I've always preferred this type of scenario for the purpose of producing 'fine' art. The artificial light only help when I need to pinpoint/highlight details. As for tidiness, this practice was developed in Catholic School. We always had to have everything proper and orderly, including how we positioned our books on the desk, etc. Such practices eventually fell over into how I created my art. Much of this can be seen in my miniature ship models -refined detail inspite of the antiqued and/or aged Having materials in order make it easier to get whatever I need rather quickly, but I usually preset everything ahead of time. 

My work schedule varies, but I make every attempt to do most of my work at night (when our side of the world is sleeping). I can usually function on four to five hours of sleep, daily. This is due, impart, because of an science experiment we endeavored in grammar school. We had to roll back our sleep hours to find how much real sleep we needed to be effective in thought and physical strength. I could function on four to five hours sleep, which is why I was able to perform three paper routes during my youth...and endure as an athlete. Relative to my work, it has always been commissioned-based. However, there was a period when I consigned to galleries, circa 1985 - 2005. I have since returned back to commissioned work and make sales whenever there's a request for a certain art object. 

While working, I usually focus quietly. However, there are moments when I listen to music to keep the momentum going. I usually like music that centers around Barry White. There's something about his orchestral type music that soothes the mind. Of course there are other artists, but his work is my favorite because of the trumpets, horns and cymbals...and, of course, drums. As a youth, when I heard Gogi Grants' "Wayward Wind" in the 60's, I immediately was passionate about the mentioned instruments. Later, little Peggy March's song "I Will Follow Him" caught my interest. 


Polly - Is there a philosophy you have when it comes to creating your art? 

Rex - There is no philosophy of any kind to me or my work. I make every effort to create on the basis of need. What I might feel, be enlightened by, and what the audience can absorb from it. Nothing more. Of course there has to be a direction and a vision. Both are dependent on the other. That being said, I can honestly say that I'm a artist. That's the vision. Where I take the art, that's the direction. 

"Pirate's Peril - Caribbean Pirates c. 1720". Wood Sculpture. Scale - 1:24.  

Polly - If you could try your hand at another medium or genre, what would it be and why? 

Rex - There are no specific genres or mediums to pursue. I challenge myself where I'm the weakest. I don't compete, and have only used that endeavor to bring awareness to my failures. Much of the work centers on my ability to study the work and find a purpose for the work. It is then that I know what I'm capable of achieving at any given time. 


Polly - I can appreciate your 'as a matter of fact' approach towards your art-making, and even though making art is a solitary endeavour, there are people in artist's lives on the side-lines cheering them on; who has been your greatest support? 

Rex - I must agree that in any profession, we all need sideline support of some kind. It first begins at home and branches from there. Unfortunately, many artists and/or prospective artists don't receive such and are at crossroads that they can't seem to grasp or understand relative to their skills and direction. There were many that supported me, so I can't really pinpoint any one individual. In recent times, these past 30 years, my sole support and encouragement stem from the Bible. Why? Because the support as I knew it began to fall off and my work was met with biases that I could not understand or fathom. Relationships became personal verses professional, so I felt a need to search deeper truths about who I was and my true purpose in the arts. The Bible helped to evaluate 'me'...something people could not do, regardless of their status. I knew that my work was extraordinary, based on the affiliations I endeavored in my early years. But I also knew that there would exist roadblocks that I witnessed some artists experiencing which strengthened me to push further. I was never one to embrace opinionated people, rather attached myself to those who shared similar viewpoints. These are, and continue to be, my supporters.

"Afternoon Arrival". Oil painting of Lake George steamboat HORICON. 24" x 36". 1991. 

Polly - What has been the most challenging for you?

Rex - As for challenges, there never has been any per se. Each endeavor is a challenge and it is how we come out of that endeavor that gives us the foundation we establish for ourselves, whether it be success or failure. The choice is ultimately ours, alone.



Polly - I'm curious to know; what kinds of art resonates with your spirit ?, do you have any particular artists or genres that you admire, like or learn from?  

Rex - There are no particular art styles that touch or ignite my spirit. Working at the former Albany City Arts Office (1975-1980) offered much by way of interacting with other artists and observing their styles and techniques. I didn't have to explore beyond this facility to know and understand creative procedure and genres. However, in lieu of genres, this word didn't exist at the time. We usually were identified by theme or category which I specialized in several and became diversified as a result. These were landscapes, oceanscapes, portraits, etc. I did very well in all of them. Maritime was the most challenging because of the prejudice and biases I had to encounter. But as you can clearly observe, I overcame with perseverance...especially with my 20 year tenure with Mystic Seaport, among other notable galleries. No one artist influenced me, per se. However, I was drawn to two UK artists whom I admired in the late 60's and early 70's. These were Montague Dawson and Carl Evers.  

"The Mark of Calvary" - Sectional view of the Wood Sculpture. Scale - 1:12. 

Polly - And in the field of maritime art; who in your mind of the maritime artists, dead or alive, would you consider to be the masters? 

Rex - Relative to identifying maritime 'masters', I really can't answer that. I honestly believe that a master is anyone who has developed a track record of excellence in their field of endeavor. Not by popularity but by excellence. Prejudice has garnished false 'masters' -placing them in the spotlight while those of true renown have perished undiscovered. I don't identify with this because of my experience, but identify because of what I've witnessed. Mystic Seaport invited me to show in their Masters, twice. That being said, how can I identify with other 'masters' when I'm in the same family? I can't. 


Polly - I’m curious to know, what are your thoughts about being an artist that is active online and has your time online helped your career as an artist, and if so, in what ways? 

Rex - I never had any thoughts on being an artist. I identified with my calling years ago and considered remaining with it, even though family, friends, and others spoke against it and attempted to discourage those interests. I realized what I had was a gift and when I read in the Bible about the Parable of the Talents, about one individual not using his ability to double his portion, I received a greater awakening. Art, like anything else is a passion, and it is 'work'. Why it is classified as a source of struggle is foolish. We see, breathe, and live art every day. Our cars, homes, clothes, utensils, devices, etc., stems from art and design. All those items had to be 'worked' in order for enjoyment to be its cornerstone. If anything, this is not my thoughts on being an artist but rather the acknowledgement of knowing I am. Having an online presence in today's society is crucial for any business. It takes work, dedication, and a firm belief in what needs to be addressed to the viewer. Not everyone will like 'you' or your work, but that's fine. Work is not subjected to a popularity contest. It is knowing what you have and how you want to bring it to the masses. And, it is how your work is received by those who support it. The internet is a tool that can work, provided time is invested there. I belong to several networks and I'm appalled at the complaining on these networks. The bottom like remains with one word which is -diligence. This is the measuring rod to whether or not the internet will serve you. I can't be specific and reveal how it's helped me, as each one of us have our own methods of promotion. However, it would be in the best interest of every artist to re-evaluate their skills and get support from those who are willing to work with them.  

Rex Stewart, working on the miniature ship model of the "BATAVIA" in his New York studio.

Polly - For the most part, artists tend to be a bit of an enigma to the outside world; how would you describe yourself as a person and could you tell us a little about your life outside the studio; what are some activities that you enjoying doing, could be art related or not, etc. 

Rex - I wouldn't consider or embrace the world's opinion about my identity as an artist. You mention that the world "tends to see us as an enigma; a mystery and/or puzzle. I must agree that artists are frowned upon and are deemed unintelligent to the 'real world'. The fact of the matter is that I'm very intelligent and have been since I can remember. Again, we live in an opinionated society; but it's not my world by any stretch of the imagination. It has to be understood that no one can please everyone; yet, we all have a purpose in this life to do and be whatever we're destined to be -artists, included. I can't put any description to myself other than what is written. However, I can say that I enjoy being a parent and I work well with people, whether or not they wish to work well with me. In essence, people will know me by my work and will understand me from my work. I love this approach, because it gives me leverage to know if I have a friend or an adversary.


Polly - I agree with your wonderful response to that last question, you are very intelligent! As you know, artists, get asked all sorts of questions. Recently I was asked a question which I'd never been asked before and it got me thinking, which I would like to propose to you; what is your ultimate goal with your art? 

Rex - As an artist, I explore, research and create. There are no ultimate goals I set for what I do. There does exist the question of knowing where I want to take my direction, but it doesn't embrace any sure end. Whatever the subject, I pursue it to the best of my ability and then move on to the next.  

"BATAVIA" - starboard close-up view, 1:200 scale of Dutch VOC sailing ship, circa 1627. 

Polly - Changing topics ... This is a question I ask all the artists I interview; if you could spend the day with one person, dead or alive, famous or not, who would it be and why?  

Rex - The answer would be President John F. Kennedy. I was fascinated by this man, his naval heroics on PT 109, and his short-lived career as Commander-in-Chief at the White House. I always pondered my thoughts as to why he was liked by many Americans and how he was well-received at international events. I remember building my first and only Aurora kit of him sitting, legs crossed, at the fireplace. When at Catholic School, I and a group of classmates would visit the Mom and Pop Store up the street and purchase collector cards on him which were published in black and white at the time. When he made his Inaugural speech, the words "Ask not what your Country can do for you; ask what you can do for your Country." I knew exactly what he meant by those words. It was the secret for unlocking any and all possibilities for being anything you wanted to be. When I walk past the Capitol steps here in Albany, I can almost hear him speaking when he was running for the Presidency in the late 50's. Many notable people stood on those steps, but Kennedy was the one who garnished the spotlight there. If I could spend a day with anyone, it would be with this man.


Polly - And lastly, what words of wisdom do you have to offer to young, and aspiring artists?

Rex -Everyone has some form of wisdom to share, based on one's experience and/or the experience of others. I tend to find that personal experience in any matter is the best teacher because you are taught from that experience. For artists, like any other profession, there exist pros and cons. It's a matter of choice and direction that will be the conclusion for the journey which is ultimately the experience. I would tell every artist, amateur and professional, to endure the experience ... to go the extra mile and (BELIEVE) that there will be an end -provided something is done, and that is to create. Furthermore, divorce opinionated people and pointless debates. Nothing can be gained by either and such will only pollute the process of the growth in your endeavor(s). In essence, value and be a good steward of your time -and be patient with your time to develop your qualities. Doing this, there won't be any room for pride and jealousy to suffocate the inner beauty that you want seen and appreciated by others. We all have a timetable for expressing ourselves. Time is priceless. Use it the right way and you, as well as your work, will become equally priceless. This is hard to fathom by most, but it is the wise who can see, live, and understand this truth. And last, be with only those who will understand (stand under) your beliefs and convictions. With this type of support you will reach and meet your objective as an artist. It's a no-brainer.


Polly - Thank you, Rex, for this unique insight into your artistic life! I wish you continued success and happiness with your work!

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To learn more about Rex Stewart and to see more of his works please visit his website ...

• Website: Rex Stewart Originals
• Twitter: @rexships