Archive for the ‘painting’ Category


Wednesday, May 3rd, 2017

















Last Saturday evening I appeared at the East Greenwich Yacht Club (Rhode Island) to donate my oil painting “Wednesday Night Races” to the club.  It shows the Paine twins, at age 15, setting their spinnaker in their bright red bluejay, Scratch.  In 1958 as a teenager from the “wrong side of the tracks” who was fascinated by the idea of sailing but with no possible access to the sport owing to my parents’ abject poverty, a caring neighbor sponsored me and my twin in their youth sailing program. A lifetime of sailing fun, and sailing industry success, which engendered salaries for boat carpenters totaling over $175,000,000, resulted. Support community sailing!


Sunday, January 24th, 2016

I  do one 30″ x 40″ oil painting every winter from memory of sailing transatlantic in 1966.  This is my latest.



Saturday, April 18th, 2015

SAVE THE DATE.  Chuck will be speaking to the Victoria/Shadow Owner’s association on or about 12 March, 2016. For those who attended his last talk in the U.K., this talk will be different and will trace his history as a “kid who loved to draw”, beginning as an artist and painter, through his design of over a thousand yachts and motorcraft, to his present reincarnation as a marine painter. Exact location not yet firm, but will be in the Warsash/Hamble region not far from the birthplace of your favourite yacht.

A FRANCES 26 at Warsash

A FRANCES 26 at Warsash


Friday, April 17th, 2015

Painted from memory of sailing transatlantic on BURGOO in 1966, when I was 21 years old. With that big spinnaker, that sucker would roll!

See this and more at:

1000 Miles To Land better


Thursday, March 5th, 2015

I spent the month of February in sunny New Zealand. Searched every harbor and marina for the boat of my dreams but failed to find it. Got a chance to do a few nice watercolors, though. Sold this one on the spot to the Dutch family under the beach umbrella.

beach watercolor NZ


Monday, February 2nd, 2015



















When I need a subject for a new painting I summon them up from my distant past. In 1975 I sailed my brand new FRANCES to the Newport Boat Show where Tom Morris and I showed her off- and sold a few for him to build. On the way back I got caught outside and ran the breaking bar of the Merrimac River into Newburyport. This painting is the result. For more of my recent paintings click here:


Tuesday, December 23rd, 2014

What better to remind you of the fun of summer than a painting of two young people sailing a Herreshoff 12 1/2 on a sunny and windy day.

Check it out and a whole lot of my new artwork at



Wednesday, December 10th, 2014

Burgoo was a gommey rule-beater and a bear to steer. But we made it, eventually, to Copenhagen, having lost our rudder along the way. A wonderful adventure for a skinny 21-year old kid.

I sailed transatlantic in 1966. 48 years later, this painting is the result.

I sailed transatlantic in 1966. 48 years later, this painting is the result.


Thursday, June 5th, 2014


Idle hands are the devil’s tool.  I was on holiday in France the past two weeks and had an hour to sketch.  Came up with this pen and ink of my 26-foot double ender Frances romping around on the ocean. Whatcha think?

A continued correspondence about drawing

Tuesday, December 17th, 2013


Peter Belenky and I struck up a correspondence, concerning drawing and economics, which you can trace below. I know something about the former and very little about the latter, so here is the art part:

Chuck to Peter-  “I found your sketches charming and artistic- indeed I wish I could recapture some of their naivete’ [Sic!] in my own work, which tends too far towards precision and realism. The final one in particular- the one of the cutter- was lovely in the extreme. I wonder what was your medium… a combination of pencil with watercolor washes?  Its only failing, and it is extremely minor, is the slightly too high freeboard and incorrect placement of the mainsail battens. But the design of the clouds, values of the shoreline in the background, and drafting of the sail seams, and its general playfulness, could not be improved upon by anyone!”

Peter's etching

Peter’s etching

Peter to Chuck:   The picture of the cutter is an etching (on a 6” x 9” zinc plate).  The technique of producing the fine lines of hull, rig, dinghy, waves, and mountains is to coat the plate with a ground (like varnish) and scratch through with a needle tool.  Then the plate is bathed in acid to cut grooves where the ground is scratched and the ground is dissolved.  The lines can be deepened by painting over those that are to remain light and bathing in acid again.  The shaded areas are aquatint (the name suggests that it conveys an impression of watercolor).  The plate is dusted with powdered resin and heated, leaving fine dots adhering.  When bathed in acid, the dots protect the surface, and the areas around them are eaten away.  Again, areas to remain light can be painted with the ground and the plate can be bathed again to deepen the grooves elsewhere.  When the process is complete, the ground is dissolved, and ink is rolled onto the surface, rubbed into the etched grooves, and lightly wiped off the top. The inked plate is placed on a press bed, covered with a damp paper and blankets, and passed between rollers, pressing the paper into the grooves to pick up the ink.  The product: a humble contribution to the noble tradition of E.W. Cooke, W.L. Wyllie, Arthur Briscoe, Rowland Langmaid, and others.

I must confess that the etching was inspired by a photograph of a real boat, so I disclaim errors and also some of the credit.  I haven’t compared the etching with the original, but you should note that the approaching boat is foreshortened by perspective.  I measured a photo of Gossoon and Minerva, two famous yachts of the 1890s here, and from a similar angle, the ratio of freeboard to length is about the same, even though these are larger yachts.  Regarding the batten placement, you can see that the top one was located to iron out wrinkles from the gaff outhaul, and none were placed below the second reef band.

Chuck to Peter-

Now I understand the issue about the batten placement. If it is a portrait, it has to look like the subject. But if it is more art than portrait, remember to look in your billfold where every artist will find his Artistic License.  As I always said in my writing days, “Never let the truth get in the way of a good story.”  The same is true, I believe, in creating artworks.  As but one example, maybe, honestly, that big wave wasn’t really that big in STORM BREAK, shown below, but the line of its top had to be very near the top of the canvas to make the compostion work, so truth be damned if it makes the finished work more fun to look at.

Peter to Chuck-   Looking at your painting, I understand what you mean by precision, but I would qualify the attribute of realism, since what the eye normally sees of reality is a blur of colors and outlines, fading away in atmospheric perspective.  Your distinct outlines and strong color contrasts of sea and clouds (reminiscent of Hokusai’s Great Wave) lend an intense drama to the image but risk distracting the viewer from focal points of interest and leading the eye to every detail at once.  You have a unique style, though, and that defines an artist.  

STORM BREAK by Chuck Paine

STORM BREAK by Chuck Paine

(STORM BREAK is one of my typical marines… Is he right? – Chuck)

Then later Peter had this comment about one of my pen-and-inks:


 Thank you for posting our dialogue, though perhaps it would have been more informative with another round, in particular, the etching technique.  Your talent for pen-and-ink drawing could be translated very fruitfully into etching.  The Ray of Hope Friendship sloop drawing is something special, with the wild, yet graceful, shading lines lending an atmosphere of excitement to an otherwise static scene.  It’s as if the boat felt the tug of the spring wind in the trees and the racing clouds and dreamed of launching day.


Here is the drawing:

Ray of Hope

Ray of Hope

What do you think- is he right?