Autumn’s End Reprise

Meredith d'Ambrosio

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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'AmbrosioNote: D’Ambrosio’s upcoming museum-exhibition will run from November 15, 2015 till February 14, 2016 at the Art Complex Museum of Duxbury MA. At the November 15 Reception, D’Ambrosio will be performing with jazz pianist Chris Taylor.

DUXBURY Massachusetts—(Weekly Hubris)—11/9/2015—

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.

Meredith d'Ambrosio

About Meredith d'Ambrosio

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, performing with such musicians as Harold Danko, Bob Dorough, Dave Frishberg, Fred Hersch, Eddie Higgins, Dick Hyman, Hank Jones, Lee Musiker, Mike Renzi, Richard Wyands, Milt Hinton, Major Holley, Jay Leonhart, Michael Moore, George Mraz, Rufus Reid, Leroy Vinnegar, Buddy DeFranco, Harry Allen, Lee Konitz, Ken Peplowski, Phil Woods, Jack Sheldon, Al Grey, Johnny Frigo, Gene Bertoncini, Kevin Eubanks, Joe Ascione, Terry Clarke, Keith Copeland, Jake Hanna, Butch Miles and Ben Riley (view d’Ambrosio’s complete discography at Currently working primarily in oils on canvas, d’Ambrosio is preparing for a major solo exhibition, November 2015 through February 2016, at the Art Complex Museum of Duxbury, Massachusetts. “Landscapes Of The North Countries” will comprise oils on canvas and linen, as well as watercolors, and include scenes from France, Italy, Switzerland, North America, and Canada, as well as new oils of Duxbury, commissioned by the museum. D’Ambrosio’s paintings, both watercolors and oils, may be viewed through, her multifaceted website, which covers her work as a musician, painter, and writer.
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6 Responses to Autumn’s End Reprise

  1. Elizabeth Boleman-Herring Elizabeth Boleman-Herring says:

    Though her editors here at “Weekly Hubris” cannot make it up to Massachusetts for the exhibition, we feel as though we’ve been preparing for this show, with Meredith, ever since she began posting here. Please do go back now, Faithful Readers, and re-visit Meredith’s earlier columns . . . and the lovely canvases that will be featured “in the flesh” all this winter in Duxbury.

  2. Avatar Will says:

    Meredith, these snowy scenes are absolutely beautiful – funny lighthouse, and all. I would love to see these in person – and their sister paintings, as well – but I know that the exhibition will be spectacular even without my presence. I do so wish I could be at the jazz duo reception on opening night! What a celebration!

  3. Avatar Laura says:

    Wonderful work, Meredith. Love them all :)

  4. Dear Elizabeth,
    Thank you for your patience all these months while I prepared for the museum exhibition! I would have loved your coming to the opening if it were possible. The audience was over-whelming!

  5. Dear Will,
    Many thanks for your kind words!
    All the best,

  6. Dear Laura,
    Happy to share my works with you.

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