This was auction day at  the Sussex and Studholme Agricultural Society building which no longer exists. It was sited across railway tracks within a block of 22 Court Street.



This chance photograph was the basis for the above painting.  The two gentlemen at right in the painting were transposed from two entirely different photos. In those days Rod painted by taking ocassional glances through a had held slide viewer. The result had to be impressionistic as a lot of detail was lacking to being with.



In 1970, Rod was no Alex Colville when it came to painting an imaginary scene. This one was executed on a wooden panel, with shellac as a primer, hence the knot burn-through. Painting like this were small creations which sold initially at $25 unframed.



Having learned to use pen and ink at Mount A, Rod had better skills at delineation than painting/ This ability improved when he was asked to illustrate types of salmon trap nets and gear for Fisheries. There were foxes nested in the cottage foundation at Black Point, in Pictou County,  In those days, people did not understand that they should not be fed and regarded their presence as a source of entertainment.



Rod veered away from trying to manufacture imaginary landscapes and created a number of  supposed humourous cartoons, which he submitted to American magazines, but none were returned or commented upon. The style was pirated from Ronald Searle. He had created a number of political cartoons decades before for the Saint Croix Courier, but this was clearly a separate genera. Too bad Douglas Adams had not yet published this advice: "You know that thing you just did? Don't do that." Rod kept scratching away but never sold one.



Halifax cartoonist Mackinnon, offered this advice to fishermen decades later when National Sea Products based in Lunenburg divested itself of its fleet. Rod had half-baked concepts for supporting his family of six. Teacher's pay was by that time spread out over twelve rather than ten months, so he had his usual pay cheque in July and August. Until this time, teachers had been considered to have a sinecure, but the government decided to collect unemployment insurance payments anyhow. Rod was eligible for eight months, but was never offered any kind of work by the Unemployment Insurance Cooperation and was advised by the chief honcho that his brood had "best go back to where youse came from." And yes, that is a direct quote!



It is generally agreed that teachers constitute a group of professionals, but Rod came to have doubts about that. As for painters, it never seemed to him that they had all of the right stuff to be termed "professional." Ronald Searle always claimed that he never did as well by his trade as outsiders thought, although his work was always in demand and now fetches astronomical prices in the after market.



This dated cartoon shows that Mackay wasted  time attempting to develop a distinctive style and sense of humour. Desperate for advice he borrowed a book entitled How To Make A Living As A Painter (1950) from the Sussex Library. That book by Kenneth Harris is out of print but still available from Amazon.com as an $8 paperback. Five buyers gave the book a five-star rating.  In 2004, R. M. Salmon wrote in saying, "  When I graduated ( MA Fine Art) a fellow art student gave me this book intending it to be a joke. I applied what I learned from reading this book and was thereafter successful in marketing my art product. I recommend this book."



In our boy's pre-Google days he had no idea whether Harris fellow was a competent craftsman. It appears that he was. He followed his own advice and later wrote that he had had "a fortunate existence... There is a heaven and we are in it, if only we took time to see that it's there... Art delivers what religion only promises."



Lawren Harris supplemented his income by painting portraits of illuminata. He and Colville were also involved with on campus soldiering. Kenneth Harrris warned that teaching could be burdensome, and taken seriously, precluded making many paintings, the only route to proficiency. He also said "Dig in where you are, Moving is expensive!" He recommended finding local outlets, but did not recommend restaurants, where paintings were apt to become permanent decor because clerks were too busy to transact sales.



Judith William's Broadway Cafe on Broad Street was different in the fact that her mother had been a noted Montreal sculptress. For a few years Rod's wife found work as a clerk at the Jabberwock (a precursor of Glass Alley). It sold the pottery of Lee Danish and Peter Powning.  Here is how things had looked earlier on. This was the basis for a very early painting. The colours in early Anscochrome and the Ilford brand of film Rod favoured because of price proved fuitive. Sometimes colours faded, as seeen here.




Sometimes odd things happened with tone, he and intensity, but where the design was reasonably solid and there was good detail, Rod took on the job of colour correction in making a painting.



There was subject matter on every side and those Broad Street buildings on all sides of the Jabberwock, were painted to death as was the railyard. Mackay only turned to rural subject matter when he managed to afford a vehicle.



This was alos faded but Rod jacked up the colour saturation to mimic the painting. He mremoved the vehicles and simplified the background.  That do shows obe of the effects od painting using slides. This one got splashed with acrylic.
 



When the circus or the carnival came to town, Rod was there to record the  people as well as the scene, although the photographic outcome was often daunting in terms of useful painting material.




This photo did get turned into a large painting.



As did this one. The Minolta SR-1 was a great camera but  not good at gathering light at dusk without help from a flash. Also turned into a painting, "The Bingo Tent."



Here is another example of that problem. Rod was forced to walk out with a sketchbook to detail shaded parts of the station before turning it into a painting. He mobved that backround figure forward on the platform.



The quality of photographs only improved once Rod shifted to the use of more expensive Kodachrome II. He tried High Speed Ektachrome but was never satisfied with the slight green cast of that film. At first people were absent from his slides as adjusting for speed of movement in those pre-meter times precluded grab shots as far too expensive.



Even professional photographers spent a lot more time mulling over the matter of composition and lighting before making a commitment.  Rapid-action shots lay in the distant future.



It is easy to take a picture but not so easy to make apainting. It was a great learning experience.



Not a really good composition, but Rod gave this service station a small canvas after it was suddenly torn down. His dad had the mate at St. George. It lasted a few years longer.



According to Harris, artists in his part of the world were increasingly looking to more lucrative markets in the largest centres of population, but said that opened the door at home for those willing to sell at prices the local market could bear.  In Virginia, Texas he had to put up with a population of a mere 100,000 souls, which he said was "desirable" for anyone expecting to extract a living wage from the community. Fortunately, Sussex only harboured one part-time artist named Randolph H. Nicholson, when Rod arrived in town.
 


Genre art is the pictorial representation in any of various media of scenes or events from everyday life. Scenes like this may be realistic, imagined, or romanticized by the artist. Randolph H. Nicholson (1909-1989) was born near Meductic in Carleton County. Orphaned when he was thirteen, he worked on farms and in the forest industry. He became a preacher for the Wesleyan Church and married Eva Porter of Debert and taught at Bethany Bible School in Sussex for decades. In addition to painting pictures from his past, he used illustrated Biblical scenes on blackboard, paper, board and canvas as teaching aids. He was active from the 1930s through the 1980s.
 


In the 1960s, Mr. James K. Irving of Saint John saw his forestry paintings and started a collection.  James is the eldest son of the industrialist K.C. Irving. With an estimated net worth of US $6.5 billion  (2015), he has been ranked by Forbes as the 4th richest person in Canada. But "gosh dang" those this old Irving boy just had so much wall space, but he did buy a large number of Nicholson's work. After the death of his father,  in 1992, J.K. Irving assumed control of Brunswick News and J. D. Irving Limited, a conglomerate with interests in forestry, pulp and paper, tissue, newsprint, building supplies, frozen food, transportation, shipping lines, and ship building. Day to day operations are now in the hands of a son.



Mr. Nicholson befriended and encourage Mackay and his wife although neither could be counted as Christian. They noted that Nicholson and his wife were also very kind and generous in interactions with their oldest daughter and her husband who bought a little bungalow in his neighbourhood.  He was neither impecunious nor wealthy and certainly not  ambitious for recognition. Commercial galleries of that day were not overly interested in genre paintings and his only important one man show was staged  a quarter century after his death to benefit the above historical society. J.K.'s wife hailed from up river. That show was staged in Connell House,  August 5-14, when 30 paintings from the Irving collection were loaned for display. By some weird quirk of fate, a long-time friend, Mark Connell, was raised in this home.



Nicholson worked with a 24x36" surface as inexpensive ready-made frames  were available from the local Woolworth's departmental store to fit them. Rod could not initially afford the luxury of stretched canvases and remembering that Colville had painted on pressed board, he purchased 4x8 foot sheets from the local lumber yard and cut them up at home into eight 24x36" sheets, which he sanded and gessoed. This became his standard size, but his frames were all homemade using pine strips from Lockhart's Lumber. Harris warned intending artists that they needed to develop a distinctive style so Rod was not drawn to emulating Nicholson's nostalgic views of New Brunswick.



Nicholson did not profit hugely from his part time work as a painter, When the Mackays settled in New Brunswick they found that he had little gallery representation but did have a local agent named Murray Morrison, then a young man in the Wesleyan fold. He and his bother Ron, helped their dad farm a property near the cemetery. At other times Murray, who became a friend of the family, travelled as an antique picker and back of the truck salesman for the rector's paintings.  We know this one sold for $65 since that is noted on a price label on the back. From the beginning, Rod posted higher retail prices since his personal need, but not his greed, was great.



"Profit is not the legitimate purpose of business. The legitimate purpose of business is to provide a product or service that people need and do it so well that it's profitable." - James Rouse

"If an artist’s work was in demand and he dies suddenly, his collectors realize the number of works available now becomes finite after his death. With no new art available, panic sets in, collectors scramble to find the work and prices spike." - Art Shop International. 

That does not happen with a majority of painters and for Nicholson the after market was not galleries but auction houses and junk shops. Rod & Anne were there in Sussex when he died under sad circumstances in a Hampton nursing home just down the road on the Kennebecasis River.




For painters it is usually a good thing to have the right stuff but better still the best possible social connections. The founders of the Sobey and Irving empires were not noted for their acumen as art collectors, but the younger members of the Sobey Empire made better investments in Contemporary Canadian Art. While Nicholson and other less painters gained sales or royalties from calendars and prints others like Lucy Jarvis and Sinclair Healey sometimes succumbed to portraying fellow academics at their respective universities
. One of Heley's sketches of a dean of is in the inset at lower right. Miss Jarvis was persuaded to execute this portrait of Colin B. Mackay (a very distant relative) when he was president of the University of New Brunswick. I don't think this was a regular exercise for her as it was for Lawren Harris Junior.



It is interesting that  style and technique changes for prolific artists.  Lawren Stewart Harris, for example liked realism and lots of texture early in the last century. He even painted a church (inset) which reminds Rod of one he painted on site at Bocabec, N.B. It was images like that last that caused Thomas Acheson to regard churchyards as a great plein air resource.



Being Art Deco born, Mac Odd was turned on by the work of Alfred J. Casson, who was an extreme workhorse, a latter-day member of the Group Of Seven and so prolific his paintings never went to the stratosphere in value.  This work was called "Country Cr sis," although exactly why is unknown to this writer.



Rod's version of an Anglican church near Hampton, N.B. seemed overly sentimental at the time but he sold it in spite of the possible stigma, which might attach to it. There was a small trial version of this painting as well as a 24x36" since it was at first hard to commit expensive supplies to the larger format.  Colville had instructed, "No overblown sunsets, no jacked up colours, no sentimentality, no story-telling."  Of course, he abandoned egg-tempra for acrylics and started painting paintings which seemed to have literary aspirations.



Nostalgia? Rod though it was better suggested than made obvious by including people in a scene.  Like overt religious rock and roll he was always embarrassed by what he considered too much emotion.  Inset, a tent at the Waweig Tuxis Boys Youth Camp, a Christian version of Boy Scout Camp. Mac Od did not respond well in spite of being billeted with one of his best friends, David Seymour Mann (at right). It rained a lot and he ran away on the second day. The rest of the summer was misspent at the family cottage on Oak Bay.



Steel barrels containing railway spikes, left behind in the rail yard. Why paint them? It is unlikely that God even knew why. A rail grinding machine was later parked at the back of 22 Court Street and he also painted that. "Where are those paintings?" he asked.  They were not destroyed by the painter, a frequent happening in tomes gone by. 
             


He was less happy with this painting which was a mash up.  Unlike Nicholson, Rod never worked in the woods, although he saw this kind of activity on the Mackay property at Bonny River. Not quite romantic genre, since the workman was obviously bored. Horses do not work in  the woods in such refined gear! From an old photographic print on which he penned the asking price. Talk about pretensions?
 


If you have great visual acuity you will see "Kings College 1829" chipped into the stone above the doorway at UNB, Fredericton.  During the 1960s Rod has suffered through an incredible summer with Biology 100 on the third floor. In the fall  Douglas Hall on the third floor was a pleasant place in 1972, and occupied by the Faculty Club. It had a restaurant up there, pool tables and slot machines and a lounge, which served "refreshments." It was here that Rod and Anne and their friend David Mann chose as the place for a one-man show, wine and cheese party and "private showing of paintings" (invitation only), between 7:30 and 10 pm with the Miss Lila Libby hired on as hostess. Back then, liquor was not served to the general public.
 


This is a Serigraph by Bruno Bobak , a Fredericton artist who died in 2012 and show the the building from the opposite, northern downhill face. My dad had carved his initials into a prayer stall in the chapel on the first floor when he was a student there. The observatory building at left was where Lucy Jarvis at first held art classes. Before Christmas in the previous year, Rod had managed to create 129 new paintings with more added in March but settled for showing 16 major works saying "not all are of exhibition calibre." Putting them in place on a hot October day was a major effort, which would have been impossible without assistance from Richard Mann, David's nephew, who was resident with him in Fredericton on the way to an undergraduate degree in geology. Forty paintings went up and Rod and Richard hung all of them.
 


All the major painters of the day, including Colville, produced silk-screened "paintings." These was a stencil-based printing process in which ink was forced through a fine partially waxed-based screen onto the paper beneath. This supposedly made fine art available at affordable prices, but was necessitated by a certain "tightness' in the market. Seeing these two, Rod said that, "More is obviously less?" Rod knew how to do this, too bad he did not, but he had a strange bias against prints, even those which were hand-pulled.



The Faculty Club was a response to the rapid growth of the University following the Second World War. As teachers grew in number and were dispersed across campus, this club had been organized to provide the UNB Faculty with a common meeting ground. Until a serve yourself restaurant was created, the Observatory was refurbished and furnished with a coffee bar and furniture. A decade later, the club was moved to the third floor of the Old Arts Building. Early patrons of Rodney Mackay had been Mrs and Dr. James K Chapman. The latter had been a summer school teacher in the history department and had became the Department Head by this time.



The lounge area, where drinks were served in the days before there were pubs and taverns and restaurants legally serving alcohol. Anne and Rod were underwriting expenses, but this was not a massive gamble. Memory fails our lad, but he says those two invited guests at left (there were about 30) were relatives. Rod's dad at right was then CEO of Capital Cooperative Limited in nearby Devon. The two largest paintings seen on the wall were entitled "Swamp Thistle" (16x20") and "Black Beach" (same size; trees).Two works had been presold thanks to David Mann's proselytizing of his friends. When they were stickered, David warned guests that they should buy soon, and five more were purchased that night. A number of inexpensive ($125 framed) paintings had been included along with a portfolio of very cheap sketches.



"The Last Salmon" was 18x24"  Because nothing was planned for the Faculty Club walls immediately after this show the paintings were allowed to stay in place for a week. At the end of that time, more than half had been sold, and the proceeds kept the family supplied and somewhat solvent for a while that fall. Since Harris had suggested selling from home, Rod took some of this cash and advertised studio exhibitions and sales just before Christmas. By December 10,  he and Anne had entertained five visitors and had sold a $10 sketch.



Earlier on MacOd had photographed this steam engine shed at Salmon River while working for Fisheres. At home in Dartmouth he had reproduced the image as a watercolour and sold it. In retrospect that community was a much larger market. Harris had insisted that exhibitions in distant galleries were  unprofitable because of the cost of travel and commissions that went as high as 50% plus shared expenses for a show.
 




Under economic pressure, Rod started checking out commercial galleries and found that Shutter Gallery commanded by Donald Hazen in Saint John demanded a $60 annual fee (which our boy could not afford) and a 30% cut (which seemed reasonable). In correspondence, he noted that the gallery owner had said, "I don't pressure patrons." Not bad a bad stance, but the exhibition space was extremely small and a show there by Christian Nicholson was so crowded that painting became wallpaper. Rod could not afford to continue in an "unpaid manner." What to do? This is where "Whatever it takes!" enters the scene.




Just before Christmas very much needed, Miss Ellen Gregg, a former high school History and French teacher, wrote Rodney saying she had enjoyed his show and had purchased a painting of Chamcook Mountain (seen on an on-line auction in 2014; dated 1970 and based on a sketch rather than a photo). Again, one of Anne's close friends, Sandra Sutherland, purchased a couple of small paintings for her husband, Dick Carson. On that same day their son, David had his arm broken during a physical education session.
 



Those were the salad days for NASCAD.  Mary  Oliver once noted, "There is a notion that creative people are absent-minded, reckless, heedless of social customs and obligations, It is hopefully, true for they are in another world altogether," Hopefully, they have guardian angels? The Mackays did. His parents travelled down for Fredericton to hear Allison's band play at Saint Paul's United Church but offered little support not seeing the depth of the problem. The Millers who lived next door were more observant and gave the family a Christmas tree.  Their seven-year old Volkswagen Station wagon finally died at that time. The children's music teacher, Stan Jamieson was understanding and did not charge for lessons for a few weeks and helped get them to appointments.



In Rod's final summer with Fisheries he worked with Harry McCavour and Sam Maguire sampling and tagging salmon in the Bay Of Fundy. Three similar paintings came out of this experience, all based on a photograph. The first was small and little more that a sketch. The second was of intermediate size and sold to Claude Bursill, then the CEO of The Research and Productivity Centre, a government funded agency in Fredericton. A cheque paying for this painting came in the mail in Christmas week. A final larger, more satisfactory version, was painted long afterwards and purchased by Rod's brother Art and ultimately passed on to his grandson.
 
 


Still, the situation might have been grim, except that Anne was able to generate a parallel cash flow. At first she seemed headed toward a BA Secretarial degree, but kept that second year status when she switched to Applied Arts at Mount A. She had learned to do basketry but taught herself chair caning from a booklet obtained at university as a student. She advertised locally in the newspaper, and gained some local work. In October, Anne had started work on an European chair which demanded the narrowest cane and great craftsmanship since the holes to take cane were recessed in a groove but not drilled the entire way through the back of the chair. In addition, the back support took a double curved configuration. Instead of being completed in four days, this job dragged on into December, and that back took the effort of four rather than two hands.




The Wttewall clan occupied a very private compound tucked away in back of Main Street behind the town hall. Back then, no one of Rod and Anne''s acquaintance knew a great deal about Barth M and Lucie Wttewaall, excepting that they were immigrants to Canada from the Netherlands. Barth Jr. was well known as vice principal at Sussex High School and had been on friendly terms with Rod when he attempted to teach there. In those days, you could not use Google to track people's fortunes and misfortunes. It was rumoured that they were of European noble descent, but they never said anything about their past.



In truth, both the Van der Feltz and the Wttewaall families were well educated and well-connected. By Royal Decree in 1841  Gerard Cornelis Wttewaall was made Parade Master of Wickenburg and his descendants were  entitled  Esquire. Non-noble members were included in 1910 and 1931 to 1932 in the Netherlands's Patriciaat . The Van der Feltz clan originated in Luxembourg and race and rose to Dutch ennoblement in 1867. Barth Jr. was born in the Netherlands in 1925 and died in Sussex in 2011. The family emigrated from the Netherlands in 1938 just before the Nazi invasion of the Lowlands. Genealogical pages on the web do not tell anything of that removal.



However, that resource lists Lucie on the Government of Canada's Heritage Information Network page as engaged in "metalworking and jewellery making." On returning the chair, she explained to Rod and Anne that her method of creating jewellery involved the lost wax method and the use of a centrifugal mechanism. A mock up of the work was fashioned in wax used to make a female mould.  Molten silver was then introduced into the mould which was spun about to distribute the metal evenly. On cooling, the mould was broken apart and a decoration released. While Anne presented a bill for $35, Mrs. Wttewall insisted on paying almost double this amount.



Mount Allison introduced Rod to the five-minute sketch . This one (from an P.E.I auction page, 2014) was passed on at no charge to the individual who purchased the large acrylic painting of which this was a component. Figures were often superimposed and reused. Quite often imagined details were painted in at the studio after the fact.

 

At this stage, chair repair trumped selling paintings and Anne showed Rod how to work at that craft. Just before Christmas, she completed work on a large Victorian rocker ($35) and had three chairs awaiting attention in the new year. A massive project suggested by Charles Foss of Kings Landing Historic Village at Kingsclear was also on the boards. In his diary, Rod noted that he had decided to keep a photographic record of her work, but he proved inept at creating archives of either paintings or chairs. The family spent Christmas in New Glasgow, Nova Scotia (December 22-26).




This was Black Point Nova Scotia that Christmas. Christmas Day was unseasonably warm allowing Anne, her dad Harold and Rod access to the family cottage near Little Harbour, Nova Scotia. Rod walked out to Black (Evans) Point and took this photograph. It was windy out there and not sketching weather. Back then purchasing and printing a colour Kodachrome cost about $1.00 per image, so Rod made limited use of this great foul weather resource. Since that time, this landmark has completely weathered and eroded into the Northumberland Strait.  Rod created at least three paintings of various sizes based on this photograph.



Almost four decades of summering at the Torey cottage on the Northumberland Shore near New Glasgow meant that Rod had the time required to sketch or paint every nook and crannie of this landscape. "Cottage" is a relative term and the Sobey version created by Frank and Irene Sobey on Sinclairs Island has  200 feet of frontage facing the water., Presently it is a 12,000 square foot residence which has a 25 metre outdoor pool, change rooms, bar and seafood kitchen. In the patriarch's day this was a 6,000 square foot structure. Anne uncles, Donald and James Mackay were not slouches when it came to making money and their cottages were a bit more than usual. The Torey cottage was the oldest on "The Front" built about 1915 by a New Glaswegian physician. Note that massive strand of fine sand in the satellite photo.



The Reid farm, like that of the Mackenzies, was a modest Cape situated where the Sinclair Road branches as the Black Point and Mackenzie roads. The Torey property was a small acreage centred in Reid territory and over the years they made many attempts to purchase it. Very few images are currently available from this time and where the paintings went is now a mystery. At first,  there were a lot of these 9x12" "quckies" which he knocked off at the rate of three a day.
 


The photo above is not a good one. This reference photo does show that deep shadows on the ground were lightened, but deepened on the building.



9x12". Colour in these paintings was sometimes too restrained and at other times went a bit too far left in the spectrum.  It was a gob and dob world back then.



The central painting seen above depicted an apple tree on the Reid Farm in winter and was probably created in a later decade from a older sketch dating to the 1970s. The style is of the 1980s and shows a tendency to smooth out painted surfaces. This one was purchased by Rod's brother Arthur.  Arriving home after Christmas, Rod was busied painting and noted that he had completed works featuring Evan's (Black) Point, Donald and Anne, and "Downtown Sussex" before the New Year of 1973. Rod remembers what most looked like and that the first was purchased by the Wests at Alma, N.B., but has no idea where a majority of paintings went. Anne did handle the majority of transactions out of the home gallery.



Rod always felt that Colville made excessive use of his family as subject matter, but said he felt amiss in not giving his more attention. The central painting was not created in 1972 but the two figures in the foreground were photographed on that winter walk into the cottage, and earlier painting featured the actual background on the Black Point Road leading to the cottage. In that painting the water of Little Harbour West was seen in the background. The above painting was painted in the 1980s.  A similar one, showing more of the foreground omitted Anne and Harold.



This photograph was lost years ago when Flickr went commercial, but was rediscovered  by Rod on his birthday in 2016. Rod was into representational art especially when it came to family.



Here is how Rod worked his relatives into a painting entitled "Hampton Gothic." Terrible photo, somewhat cropped



For the sake of comparison, here is the ultimate version of "Hampton Gothic" on the wall of Mr and Mrs. Wallace West. Wallace is taking his ease in the armchair at left.



This map from the 1870s indicates that the Torey cottage was sited on lands formerly held by J.R. Reid, now owned by the Mackenzie clan. That painting of Anne and her dad was painted overlooking an unnamed embayment of Little Harbour.




In those days there was a rudimentary lobster pond at that location. The Northumberland is ice bound in winter  and their summer lobster season sees moderate temperatures and lobster fishing boats often travel with minimal weather protection. Copy of painting provided by e-mail from the lady in Nova Scotia who purchased this painting.



The photograph. George Mackenzie of Black Point told Rod that he used to walk Sinclair Road and skate across to his schoolhouse located on Powell Cove.  Shaded areas were demphasized and the left hand boat removed.



In September, 2006, Rod stumbled upon this on line image on a blog page. This was a Deer Island painting. and the resource material would date from the 1960s. Painting skiffs and dories is not easy. Many painters put too much twist in the superstructure.  Shelagh  Duffet teaches folk art classes in Halifax, and has an eye for interior dec.



Nineteen seventy-two would be termed a turning-point if Rod's ld had been living out a novel.  On Christmas morning, 1972 Rod brought back a photo of this doorway in New Glasgow. In mid January, he noted "Commenced: Rhodenizer's Front Door (He had been Anne's high school principal).This painting had to be redrawn when he discovered that he had inscribed it on a board primed for oil paint. He enlarged the size, made it circular, and completed it in acrylics, January 16, 1973. Framed with chrome flashing from the auto section of Canadian Tire.

 

The photograph. Rod was definitely romancing the stone. Whatever the outcome, Rod was very busy learning the painting trade by reading and hands-on experience. This, since caning chairs and refurbishing and repairing antiques had fallen off in deep mid-winter.




The evolution of the unintended turned out better than Odd expected after he began to rethink his use of colour and redrafted this painting in a 24x36" format and added a second boat and a float in the background.  He subdued that much too colourful background and foreground in the small painting and toned down the colour in this salmon boat fishing out of Lorneville, N.B.



Rod continued to trash half of all work partially or entirely completed. He was lucky to have photographs to lean on as winter in Sussex was harsh.



This was a bad choice but he did complete a painting.



On the coldest day, there was always the backyard and telephoto. There were paintings; three in all.



Simple things can mean a lot (of work). Here it is clear that the painting based on this painting was completed later than the others and it was more sophisticated. Stephen King has it right: "Craft is terribly important... often the tiresome process of draft and then draft again is necessary to produce good work..." Not a masterpiece!  He guesses that "Hard work is the only acceptable practice for those of us


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