Page 147 - The Hunt - Spring 2019
P. 147

                  djfdlkfjglfkdjglkd sjfglkdfjglksdfjglksdfjgl ksdfjgl;ksdfjglksjdfgl; ksdgfl; ks
  complex where he lived. The leaves were off the trees, and she spotted the property from the west side of the Brandywine. Pulling off the road, she painted a small canvas with the river’s shape and the place- ment of the buildings. “The perspective of Brinton Mill was unique,” she recalls. “That evening, I captured the view on a large canvas.”
Another aspect of the artistic process important to Beam: the marriage of a painting with its frame. When she was commissioned to paint historic Buckley’s Tavern on Kennett Pike for its reopening several years ago, she worked with a framer who has raised frames to an art form. Washington, D.C.-based frame conservator William Adair echoed the pineapple motif on the Buckley’s tavern sign by etching tiny pineapple cartouches in each corner. He also added punch work and trefoil motifs on the 22-karat water-gilded frame. Similarly, a frame for a snow-covered night scene has an etched motif of minute pinecones, with a thin glaze of white to echo the snow. “You always incorporate something within the painting in the frame,” says Beam, who adds with a smile that she’s become some- thing of a “frame snob.”
Painting plein air has its hazards. Beam once set up her easel, only to discover a very long snake slithering toward her. But the gratifying side is meeting people who enjoy art and appreciate her work.
For her, that connection with a client is the most meaningful.
“A person purchases your painting and likes it enough to put it in their home, which is a very personal space,” she says. “What greater award can you have as an artist?”o
Beam paints nature, homes, towns and whatever else captures her imagination.
 www.ThehunTMagazine.coM 145

   145   146   147   148   149