Redtree Times

Edgartown Lighthouse (2026)

From out the level darkness shot
One instant and again was not.
And then my friend spake quietly
The thought of both: “Yon crescent see!
Like Islam’s symbol-moon it gives
Hints of the light whereby it lives.
Somewhat of goodness, something true
From sun and spirit shining through
All faiths, all worlds, as through the dark
Of ocean shines the lighthouse spark,
Attests the presence everywhere
Of love and providential care.

–John Greenleaf Whittier, Miriam (1871)

I mentioned awhile back that I was working on a large commission piece. I had been approached by some folks out on the west coast for a large painting of a favorite lighthouse of theirs. Surprisingly, this particular lighthouse was not in their area on the coast of California but was instead the one on the beach at Edgartown in Martha’s Vineyard. I accepted their offer and have been at work on it for the last couple of weeks, finishing late this past Wednesday,

I have to admit I wasn’t too keen at first on accepting the commission. I am never comfortable painting to the specific requests of others and try not to paint well known places where there is already a preconception of that place in the minds of many. But as it has been with most of my commissions, these kind folks allowed me great latitude and freedom in how I rendered the scene, wanting it to be mainly in my style and vocabulary. For example, they specifically requested that I paint the mainland in the background as I wanted, employing my Red Roofed houses and my stylized trees as I felt were needed.

Even with the free hand they gave me in creating this painting, I probably would have turned this commission down most of the time. Just the idea of painting something so well-known would be enough to turn me off but, more than that, it would take me out of my normal rhythm. It had parameters that took me out of my comfort zone where I could go in any direction at any time with only myself to please.

But their request came at just the right time. I was finishing up work for the West End Gallery show that, by the way, just concluded yesterday. I was a mule in need of a carrot, something to motivate me before I began working towards next year’s shows. The challenge this provided and to work in a larger size– the painting is 48″ high by 36″ wide– enticed me, especially given that I was feeling pretty good after finishing what I felt was an extremely strong group of work for the West End show.

Edgartown Lighthouse Study

I started with a study for this painting. This is something I seldom, if ever, do for any painting but because this was a big painting I needed to do it for myself as much as for the clients so that I knew where it was headed. I did the 12″ by 16″ study shown here. It was slower going than I expected, mainly because the rhythm I mentioned took a while to kick in. It’s hard to explain, but the rhythm and pace of a painting are a big thing for me. My process has to flow in order for the painting to flow.

But I did find that rhythm eventually and was really pleased with the result. It felt like something I might do on my own. It was my work. I sent it to the waiting folks and they loved everything about it but were intimidated by the size of the sky in the study, especially since it would be such a large piece. I proposed changes that I could make that I felt would not greatly alter the feel and rhythm of the painting. In order to make the sky a less dominant element, I would have to move everything upward, while still keeping the lighthouse itself near the same relative size. This meant expanding the beachy foreground and enlarging the channel waters behind the lighthouse, as well as pushing the mainland silhouette up a bit behind the lighthouse.

After we agreed to these changes, I went to work. I was not totally convinced after the first couple of days. In my normal work, I know what to expect as far as the different phases of the process are concerned. I know when a painting of mine will inevitably flatten out and become dull and awful, that there is nothing to worry about and that it will soon come back to life. I kind of knew it here, as well, but since it was different sort of composition and subject in a large format, I wasn’t totally convinced.

Framed Edgartown Lighthouse

In the end, the challenge that it presented was its saving grace. It allowed me to use what I consider to be one of my greatest strengths which is an ability to figure things out and put them in order. To solve a problem put before me.

After sending images of the finished painting, one showing it in its frame, shown here on the left, the folks who requested this piece were thrilled. I have to admit that I am very pleased with how this painting turned out. It has a great deal of strength and a real presence and meets my main criteria, that it is recognizable as being my work. I would gladly show this painting in the galleries that display my work. In fact, there are elements in it that will no doubt show up in future paintings. For example, the beachy foreground which I find especially appealing.

Just a few more steps over the next couple of days and it’s off to California. I think I am going to miss having this painting around, not only for the painting that it is but for its reminder of the challenge it offered when I most needed one.