Hubris

Autumn’s End

January 3, 2014 /

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“One sunny day, we sat on the grass across the road and made black pencil studies of the cherry tree. Shadows took on new meaning for Emma that day. When I finally painted the tree in the winter, my pencil study became the basis for this oil painting.”—Meredith d’Ambrosio

The Disappearing Land

By Meredith d’Ambrosio

Meredith d'AmbrosioDUXBURY Massachusetts—(Weekly Hubris)—1/6/2014—

Cape Cod Cherry,” Oil on Canvas, 24” X 36” (2005).
“Cape Cod Cherry,” Oil on Canvas, 24” X 36” (2005).

In the summertime, when my granddaughter Emma came to visit, we would venture off Daniels Island to walk to Popponesset Spit—the tail end of Popponesset Beach. On the way, we would marvel at the old cherry tree as we came around the bend on our shortcut to the spit. One sunny day, we sat on the grass across the road and made black pencil studies of the cherry tree. Shadows took on new meaning for Emma that day. When I finally painted the tree in the winter, my pencil study became the basis for this oil painting.

“First Snow,” Oil on Canvas, 30” X 40” (2008).
“First Snow,” Oil on Canvas, 30” X 40” (2008).

My companion and I traveled by car to Bar Harbor, Maine, and drove aboard the Blue Nose for an overnight cruise over a choppy sea. The next morning, we arrived at Halifax, Nova Scotia, where we disembarked and drove off the boat to begin our trek all along the coast, eventually finding our way to Peggy’s Cove. If we’d blinked while driving through the tiny, rustic fishing village, we would have missed most of it. The winding hills and dales of the main road drew me into the scene, but what really caught my eye was the oddly shaped lighthouse.

“Verbier Path,” Oil on Canvas, 24” X 18” (2009).
“Verbier Path,” Oil on Canvas, 24” X 18” (2009).

After a concert tour in France, I found my way by train to my sister Elaine’s alpine home among the clouds in Verbier, Switzerland. The next day, we took her Italian Spitz, Theo, for a walk in the snow on a narrow pathway. I learned that, in the far distance, beyond the peaks of Swiss Alps, the farthest range one could see was the French Alps. Suddenly, Theo was distracted by a scent. He bolted over the ridge of the path to explore the remains of a dead animal at the bottom of the steep hillside. We stayed there a long time, trying to coax him away with our calls, but finally gave up and returned home. After realizing that we’d abandoned him, Theo was home three minutes after we arrived.

Boston-born Meredith d’Ambrosio, a Renaissance woman whose creative work crosses many genres, has successfully combined careers in the musical and visual arts. In 1958, in Boston, d’Ambrosio began singing with small bands, accompanied by Roger Kellaway on piano. Although she has worked primarily as a jazz singer-pianist, she is also known internationally as a calligrapher, watercolorist, creator of eggshell mosaics, composer, lyricist, recording artist, and teacher. D’Ambrosio branched out into New York City in 1981 and, since then, has toured extensively throughout North America and Europe (view d’Ambrosio’s complete discography at www.meredithdambrosio.com). D’Ambrosio’s paintings, both watercolors and oils, may be viewed at www.meredithdambrosio.com, her multifaceted website, which covers her work as a musician, painter, and writer. (Author Head Shot Augment: René Laanen.)

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