Beauty for Ashes

The winter is past,

The rain is over and gone,

The flowers appear on the earth,

The time of singing has come.

                        Song of Songs 2:11   

            Today I dug out some impacted day lilies from the garden by the red house. I have kept up that little stretch of my mother’s garden on Lilac Hill. At the height of summer bloom, my father can see the tall fuchsia colored phlox and the elegant pink and white asiatic lilies out the window from his chair.  And he monitors the comings and goings at the hummingbird feeder in the midst of it all.   

              My father, Bob McWethy, says extreme old age is an adventure like none other. He turned 97 on his last birthday, and continues to make the most of every blessed day.  We made the decision as a family that both our parents would live out their days on Lilac Hill, the property where my mother grew up.

                The sunny orange day lilies light up the garden when they bloom in June, but they are aggressive and tend to take over. The clump I dug out made room for a delicate pink bell like Hispanica and two shy little yellow primroses that had escaped their garden beds and been in the path of the lawn mower. They will bloom next spring.

            Margie has taken on the gardens up by the “main house,” as my father says. (I call it the “big house,” but he says that is entirely inappropriate. The Big House is where you go to do time.) The other day, when I was over with my father’s dinner, Margie brought me up to see a fun discovery she had made.  She pointed out a new little sprig from “the quintessential rose” that had planted itself a foot from its parent. I call it the quintessential rose because the abundant blossoms on the parent rose are the picture of a perfect rose — a pleasing blend of pink and peach, soft like a summer sunset. And the sweet fragrance of that rose — you want to sink your nose in one of those blossoms and never take it out! My mother, Margie's grandmother Liz, had propagated that rose from a cutting she had taken from the old gnarly rose by the garage at my house in town years ago.

           We often hear of the garden as a metaphor for life.  Gardens speak and teach. My mother was a gardener and a poet. She died on October 11, 2014. Many of the flowers and bulbs she planted in her gardens still grace Lilac Hill with a copious array of bloom spring through fall.  And her poetry continues to leave its delightful mark on the world.

            Lee was an artist. He was passionate about art and doing what God created him to do. His paintings continue to live on, much like my mother’s flowers and poems. Margie was so excited to show me the little sprig from the rose that had planted itself. That was her, next to her grandmother, next to her father, carrying on their creative legacies through her art and, now teaching.

            It’s spring! The winter is past! The time of singing has come.  Margie and I would like to share the fruit that will continue to come forth through our family as we pursue our creative passions. We hope our regular entries will inform, encourage and inspire you in tending your own creative gardens.

By Martha Boynton

Continuing the Legacy - Join us for a Painting Day at Lilac Hill

by Margie and Martha Boynton

We had an outstanding turn out for the Lee Boynton: The Light of Life exhibition — over 140 people signed our guess book! We had a lot of wonderful feedback from the show. Many people asked if we could do another exhibition.  Several former students expressed how much Dad’s classes influenced their lives and spoke about getting together to paint. 

In response to this, we will be holding a painting day on November 19 from 10:00am - 2:00pm at Lilac Hill, our family property on Weems Creek. During this events, Margie Boynton will provide exercises and instruction in the basics of identifying values and applying color through blocks studies or painting simple still life arrangements.  Her instruction will be based on her father’s teaching materials. More advanced students would be encouraged to paint the landscape on their own. Bring a bag lunch and a snack to share. Beverages and homemade cookies will be provided.

 

Date: Saturday, November 19th, 10am - 2pm

Where: 3 Weems Creek Drive, Annapolis, MD 21401(Park in the grass to the left of the driveway, marked with a sign)

RSVP: Please email Margie Boynton by November 16th if you are interested in attending this event. margie.boynton@gmail.com

fee: $25 per person 

Enrollment limited to 12

Beyond the Light of Life Exhibition:

As a family of artists, we have been developing our vision for continuing the Lee Boynton Legacy.  We will be posting information about future shows and events on the website (leeboyntonlegacy.com), and adding points of interest as they come along. 

 

 We would like to see the blogging element on the website become a vehicle through which we can encourage creative people to unlock and develop their artistic potential.  We hope to create a safe place where former students or other emerging artists, poets and writers can exhibit their work and tell their stories. Lee was all about that, and we’d like to keep that light he carried alive and burning brightly.

Margie has been collecting some of her Dad’s teaching materials, block demos and color lessons. She would like to create a study guide for artists using this material as well as adding some material of her own. 

We welcome any suggestions or ideas readers might like to share.

Fishermen and Sunlight - memories of my father

by Margie Boynton

Today, October 26, is my Dad’s birthday. I thought a great way to celebrate this day would be to share some of my memories growing up with an artist Dad. 

Dad always had some mammoth project going on in our living room. He would be stapling large sheets of damp watercolor paper to stretcher bars or nailing a painting into a frame. The house was abuzz with his presence and creative energy.

Some of my earliest memories were of my father getting ready to go out with the watermen on skipjacks. He loved getting into his car before light, crossing the Bay Bridge and stepping into the lives of men who harvested the Bay under sail, a unique and dying culture.  There was a separateness about being on the water aboard these boats, far from the noise and pressures of our modern, technological world. He would come back at the end of the day very animated, excited to share the highlights of his day — how the early morning sky was ablaze with yellows and reds, almost unreal. He would relay spirited conversations he had had with the crew, imitating their accents and a telltale cock of the head.  Often he would come home with a bushel of oysters the captain had given him to take home for his family. 

After Dad went home to the Lord (I like to say “went home to the Lord,” rather than “passed away,”) Jan Glastra Van Loon, a family friend in Holland, sent a photo of a painting of a skipjack my dad had done for his Dad, Feico.  Feico had been a spiritual father to my dad for many years. In the painting, shadowy figures onboard the skipjack were obscured by the light. Jan said, “Now my dad and your dad are on board that boat together.” 

His comment gave me new insight into my Dad’s paintings. We are all like the fishermen on board the boat, harvesting the goodness of the works of our hands and living out our God-given destinies. The light that has such an illuminating and brilliant presence in my Dad’s paintings, is the loving favor and presence of God. The light, the presence of God, and the men have such a pure relationship with one another in his paintings; the fishermen and the sunlight are almost intertwined, as if they are one. 

As my Dad spent time with the watermen on the Chesapeake Bay, Biblical passages that reference fishermen would come alive to him. For Dad it was more than the skipjack as a subject matter, it was the means by which he portrayed God’s guidance in his life. My Dad wanted people to see the light!

Pursuing Excellence: Living Well

Artist Bob Askew, from Swanee, TN, first studied with Lee in 2004.  Bob was an instant friend, one of those people God planted in Lee’s life to give him strength for his calling and journey.  Bob was a tremendous source of encouragement.  He invited Lee to teach several workshops in Swanee which were all well attended thanks to Bob’s efforts. 

While I was down in Swanee attending a writer’s retreat this past September, Bob gave me a letter he had written to our family, remembering how Lee had touched his life.  Here are some excerpts from that letter: 

I would like to say a few things about Lee — how my contact with him has affected me and given me tools for life.

The most striking is the idea that one’s life, career and faith should all be combined. Lee lived his life honestly, and his faith was clearly reflected in his work and in his teaching, qualities I believe are certainly worth emulating.

He also believed in pursing excellence in what he was doing. His commitment to doing things well began with materials and carried through in every aspect of his painting approach. He taught me how to conduct myself in a professional manner and to pursue excellence every step of the way.

Finally, I learned about endurance through my times working with Lee in his painting workshops. He was tireless, and always wanted to do another painting even after having worked hard all day, when it would have been easy to stop.

I will remember Lee’s love of life and of people and his gift of teaching forever. I am grateful for having known him and for the opportunity to learn from him, not only about painting, but more importantly about how to be a good friend, and how to live life well.

www.askewart.com
Demonstration during a fall painting retreat at Watersong  -- Bedford, Virginia

Demonstration during a fall painting retreat at Watersong  -- Bedford, Virginia

Sea Change: Poem by Kathy Potter

Lobster Pier: Stonington, Maine

Lobster Pier: Stonington, Maine

The artist stands on the pier to paint

An ever changing sea.

He’s thrilled at the prospect of capturing

Dusk’s tranquil imagery.

 

The lobster boats shift from side to side

Each time he takes a fix.

The island, visible at five

Disappears at six.

 

The sun goes down, the fog rolls in.

The dock, it fades away.

The artist puts away his paint

To return another day.

 

Kathy’s husband Chris attended one of Lee’s workshops in Maine in August, 2005.

She wrote this poem for Lee.

 

Art: The Divine Fingerprints of Our Loving God

Enthusiasm — A strong interest in something that you like or enjoy.                                           Origin of the word: Greek, Enthousiasmos — God breathed, to be inspired

By way of this blog, I, Martha Boynton (Lee's wife), would like to extend a special thank you to all who have expressed such heartfelt appreciation for having known or studied with Lee.

“Enthusiastic” was a word people often used to describe Lee. He was enthusiastic about life and art.  Lee seemed to dance with remarkable ease and joy along the narrow path God had marked out for him— a career as a fine art painter and teacher.  He lived from the understanding that all people are created in God’s image (Genesis 1:26-28). We are wired with an innate ability to imagine and create. Lee would often tell me he felt a perfect oneness with God when he would paint; he would be "co-creating with the Creator Himself." Lee’s greatest desire was to foster this gift in others through his teaching.

Lee and I worked closely together through our 36 years of marriage,  We were called to the mountain of the arts the day we met back in October, 1978.  I will be continuing our mission through this blog on the Lee Boynton Legacy site. Lee was a groundbreaker in the arts and his influence will live on.  I will be tracking the development and work of visual artists whose commitment to the arts bring beauty, joy and peace to our troubled world, reminding us of who (whose) we are and the hope we have in God. 

We look forward to the first reception of The Lee Boynton: The Light of Life show this coming Thursday, October 13, 2016, 5-8pm, at Maryland Hall for the Creative Arts in Annapolis, MD. 

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Why I Paint - the meaning of art in my life - by Margie Boynton

My Dad, Lee Boynton, was my biggest inspiration in art.  I grew up posing for him as his model, then started studying with him throughout my childhood and into my adult life. I painted in oil mainly; Dad painted in both watercolor and oil. Following the theories of color and light first developed by Claude Monet, the father of Impressionism, my Dad used a palette of colors based on the natural spectrum of light. He preferred to paint “en plain air” (French for out doors) and directly from life. Painting outdoors, directly from life, forces you to observe, as if in a mediative state, the very brilliance of a passing moment. It was wonderful to be able to share that passion with my father; to get excited and talk about art together; to go on painting excursions together; and to witness his passion for teaching his students.

In July 2014, I spread my wings and drove across country by myself. Before I left my mom said “pay special attention when you see a butterfly because that is a sign that God is there.” I didn’t have any plan and there were many times I doubted myself and felt lost, but everything always worked out for the best. When ever I felt afraid I would see a butterfly and felt comforted.  I painted little landscape paintings along the way. I found art related jobs on craigslist before reaching the cities on my route. When I finally got to Oakland, California, I stayed with a childhood friend from Annapolis. I painted a picture of a pretty blue house with sunflowers around it and met the woman who lived there.  This opened the door for me to live there for 8 months with her and her two children. I got a job at a local deli and struggled to make ends meet in the Bay Area. 

On new years eve 2014, my father was diagnosed with stage 4 colon cancer. Some months later, I returned to Annapolis to help him.

All through the winter last year Dad and I painted together just the two of us in his studio. One of the paintings that I really liked that we did together was of a rose. He had found a rose blooming in December and we painted it together. Its interesting to look back at both of our paintings side by side and remember thatfragile pink of the rose. I can remember Dad’s suggestions when I look at this painting. 

As my Dad’s sickness progressed, I found more and more pure joy in focusing on my art. I started making paper butterflies by cutting heavy card stock with an xacto blade, then gluing brilliant Asian papers behind the cut out wing shapes. When you hold them up to the light they look like stained glass. I made these paper butterflies to hang in the sunny window at the foot of Dad’s bed to comfort him - and to remind him that God was there.  On April 24, 2016, my father spread his wings and went home to the Lord. 

 

This year in celebration of my 30th birthday, I have decided to commit to being a full time artist. To give to myself what I love and to allow my art making to be an expression of my faith and my father’s influence on my heart. I continue to paint still life paintings and I continue to make paper butterflies. My future goal is to use these butterflies to collaborate with a scientist to help spread an understanding of the importance of habitat restoration. 

 

Many folks say “its tough to be an artist, you have to do something else to support yourself” but I know that isn’t necessarily true. It depends on you, how committed you are to pursuing your vision. My Dad approached it just like anyone else would approach another career. He went to his studio from 9 - 5 every day to work, or painted outdoors.  He created huge lovely paintings of watermen, ocean waves, or paintings of historic sites.

 Growing up with my Dad I saw that the greatest thing about being an artist is that you can promote yourself, you can set your own boundaries. If you can imagine something as being possible, it is possible. 

Unlike my father, I like to use many different materials and forms of art. I think its important to experiment — to keep your definition of yourself as an artist and what you “do” open as you learn. I can use one material and encounter some difficulties in executing an idea, and then use another material and find the answers.  For example, I started out as an oil painter, painting landscapes with my Dad throughout my childhood. I found capturing the sense of distance as the rolling hills of the landscape became veiled in atmosphere to be very challenging.  It wasn’t until I started using cut paper in collage that I could understand the layers of distance in the landscape.

For examples of my work visit: www.margieboynton.com

An artistic legacy: Former students remember Lee Boynton

Capital article written by Meredith Newman, May 1, 2016

Lee Boynton could find the beauty of any landscape — an oyster boat, a shallow river, an empty grass field.

One day in 2009, the art teacher class assigned his students to paint landscape before them, a red tugboat in a duck pond. But it wasn't just any pond or boat to Boynton. It was another example of nature's beauty, he explained.

And like his students, Boynton plopped down his easel and began painting. For student Melissa Gryder, who had never taken her easel outside before, Boynton's class transformed her from a still-life artist into a landscape painter.

"You wouldn't see every teacher painting alongside you," said Gryder, an artist in Annapolis. "He celebrated the majesty of nature and had a passion for God. You couldn't help being inspired by his delight and love for it."

Boynton, 62, died of colon cancer April 24. He was known for his Impressionist theories of color and light in both oil and watercolor. He frequently drew Chesapeake watermen, the Maine coastline and Maryland farms and fields.

 

He was one of the first artists-in-residence at Maryland Hall for the Creative Arts and began teaching there in 1983 until a couple months before his death. Students of Boynton say his last legacy will be a one-of-a-kind teacher who taught and mentored emerging arts in the Annapolis arts community.

"If you find any great painter you're going to find a lineage that goes back in time," said John Ebersberger, an artist in Annapolis who taught at Maryland Hall with Boynton. "There's a saying that you're standing on the shoulder of giants. A lot of his students have become exhibiting artists."

Ebersberger knew Boynton since the early 1980s where they took classes under influential American painter Henry Hensche. Under his teachings, Boynton used light, bright colors with his Impressionist pieces, which at the time, wasn't done before.

Lee brought Henry Hensche's (technique) to the watercolor medium," he said. "That was an unique contribution. Lee tried to continue in that classical realism merged in Impressionism."

Boynton's art won numerous awards at Paint Annapolis, Paint Easton and the Wayne Plein Air Festival, according to his website. In 2009, he won the Arts Council of Anne Arundel County's Annie Award, one of the most prestigious local arts honors. He co-wrote "Painting the Impressionist Watercolor," which detailed his technique.

 

Like much of his work, Boynton's murals created a deep sense of place, said Joann Vaughan, executive director of the Maryland Federation of Art. She added that Boynton used wide ranges of color in way that was different from other painters.

"People respond to Lee's work because the color gives you a sense of what it felt like to be there," she said.

For Nina Ellsworth, a former student and Annapolis artist, Boynton saw color in a way that was revelatory.

"He used would tell us which colors to use and say 'You'll get it later.' We would paint something together, and use this yellow ochre," Ellsworth said. "We would think that so weird. But when it was on the canvas it all made sense.

"He really wanted to teach his point of view," she said. "He wanted that to live on in a way."

Ellsworth added that it was clear he had a natural gift. During one class, the students were painting on a bridge near Clay Street. Boynton demonstrated how to show light reflecting on the river, and he loaded a light blue paint on his pallet knife. In one smooth brush, it "magically" became the river in front of them.

"I cried when he did that," she said.

For Gryder, a former student, taking Boynton's classes influenced the direction of her art. Before, Gryder mostly did still life art. But Boynton helped her answer the "riddles" of landscape.

"He never judged people for the level they were on, whether professional or if you were enjoying your time painting," she said. "He gave you respect."

Gryder teaches painting at Anne Arundel Community College. The night she learned of her former teacher's death, she showed her students how to paint landscapes, similar to the ones Boynton taught her.

She described it as a "full circle" moment, especially since she was using a hand made pallet created by Boynton to teach how to draw red boats and duck ponds. In the Annapolis arts community, he was known for making "perfectly balanced" pallets.

Almost every artist she knows uses one.

"Every time you paint, there you are holding your Lee Boynton pallet."