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C-FGKS - Bombardier (Canadair) CL-604 Challenger - Jetport (untitled)
at Hamilton International Airport (YHM)
c/n 5718 - built in 2007 -
reg. to Jetport since 10/2019
Newly constructed Birmingham Railway Carriage & Wagon Company Type 2 Bo-Bo (later class 26) at Hornsey TMD, North London.
Charles C. McKim
American, 1862–1939
oil on canvas
Museum Purchase: Funds provided by Northwest
Art Purchase Fund and Northwest Art Council,
2012.153.2
The soaring spruce trees along the Santiam River west of Salem glow in the fresh colors and vibrating brushstrokes of McKim’s Impressionist style. Born and trained as an artist in Boston, McKim came to Oregon in 1911 and made a career of painting our state’s dramatic scenery in a vividly contemporary style and searching for grand scenes like this mountain river.
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The frame: purpose-made and conceptually aligned
The frame appears purpose-made or at least purpose-selected for this painting, and it does important visual work rather than functioning as a neutral boundary.
Several features stand out. The frame has architectural gravity: it is heavy, rectilinear, and structurally articulated, with corner blocks and incised linear ornament. This gives it an architectural presence that anchors the otherwise fluid, vibrating surface of the painting. The material sobriety of the dark-stained wood, with minimal gilding or sheen, avoids competing with the painting’s high-key color and absorbs light rather than reflecting it. The recessed sight opening sets the painting slightly back within the frame, creating a shallow box effect that contains the energetic brushwork and keeps it from spilling into the surrounding wall.
This kind of frame is characteristic of early twentieth-century American landscape presentation, particularly for Impressionist-influenced works. It disciplines spontaneity, offering visual ballast against the looseness of touch. The frame’s seriousness implicitly elevates the sketch-like immediacy of the painting into the realm of finished art.
In short, the frame collaborates with the painting. It stabilizes motion and reinforces the work’s claim to permanence.
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Discussion of Santiam River
This painting sits squarely at the intersection of American Impressionism and regional landscape painting, translated to the specific conditions of the Pacific Northwest.
Brushwork and surface
McKim builds the scene with short, broken strokes that shimmer rather than describe. Trees, slopes, and water are not outlined but assembled through chromatic vibration. The paint handling emphasizes movement over contour, sensation over topography, and light as an active force rather than a passive illumination.
The water does not reflect the landscape so much as participate in it, absorbing surrounding color and redistributing it across the surface.
Color and light
The palette is notably fresh. Cool blues and greens are countered by warm yellows and ochres in the banks and highlights. This creates a sense of filtered mountain light, consistent with Oregon’s atmosphere, where illumination often feels diffused rather than directional.
Rather than dramatizing the scene through contrast or grandeur, McKim achieves scale through rhythmic repetition. The vertical rise of spruce trees, echoed across the background, establishes monumentality without theatrical exaggeration.
Composition and mood
The composition draws the eye inward along the river’s bend, encouraging a quiet, sustained looking rather than a single climactic focal point. There is no human presence and no narrative incident. The painting presents nature as continuous and self-sufficient, not as a site of conquest or spectacle.
In this respect, McKim’s approach differs from the nineteenth-century Hudson River School tradition. The Santiam River is not a moralized wilderness. It is a lived-in landscape, observed attentively rather than monumentalized.
Place within regional art
Works like this helped define what would later be understood as Pacific Northwest landscape modernism: attentive to local conditions, indebted to Impressionism, but resistant to European subject matter or overt symbolism. McKim paints Oregon not as an exotic frontier but as a place worthy of sustained, contemporary artistic attention.
Brief biography of the artist
Charles C. McKim (1862–1939) was an American painter trained in Boston, where he absorbed the influence of American Impressionism and late nineteenth-century plein-air practice. In 1911, he relocated to Oregon, where he spent the remainder of his career painting the region’s rivers, forests, and mountain landscapes.
McKim became known for translating Impressionist techniques such as broken brushwork, high-key color, and an emphasis on light into distinctly Northwestern settings. His work played a key role in establishing a regional visual language that balanced immediacy with seriousness, aligning local scenery with national and international artistic currents.
Although less widely known today than some of his East Coast contemporaries, McKim was an important figure in early twentieth-century Oregon art, helping to legitimize the region as a subject for ambitious, modern landscape painting.
This text is a collaboration with ChatGPT
C-GRXB - Pilatus PC-12/47E - ornge (Ornge Global Air)
at Hamilton International Airport (YHM)
c/n 1094 - built in 2008
Ornge (formerly Ontario Air Ambulance) - is the air ambulance and ground transportation service for the province of Ontario, Canada, and for the Ministry of Health and Long-Term Care (Ontario)
ornge currently operates 10 PC-12 turboprops and 10 AW-139 helicopters from several bases in Ontario
Best viewed Original size (1280 x 853 pixels).
English-Electric Type 3 (Class 37) 6725 (31B) stands at Cambridge ostensibly in charge of freight train 8J21 (the lunchtime Whitemoor to Temple Mills) - c.1971.
Please do not share or post elsewhere without permission of the copyright holder(s).
© 2024 - 53A Models of Hull Collection. Scanned from the original 35mm colour transparency; photographed by the late D M Harrison.
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C-FMCJ - Boeing B-737-296A - CanJet Airlines
at Hamilton International Airport (YHM)
c/n 22.398 - built in 1981 and operated by Piedmont Air Lines, later US Air -
sold to CanJet 2000 and leased to Canada 3000 in 08/2001 -
returned to CanJet and operated until 2005 - retired
scanned from Kodachrome-slide
Tucson, Arizona Boneyard. Because this is an active Air Force base you can only access this by guided coach bus tour that drives up and down the aisles of aircraft. You have to shoot through tinted windows and be ready to shoot when the bus stops briefly.
C.15-23 15-10 McDonnell Douglas EF-18A+ Hornet F18H c/n579
AME Spanish Air Force
EYSA 180920Z 03003KT 320V130 9999 FEW046 25/14 Q1022 BLU NOSIG
C-GPWS - Boeing B-737-6CT - WestJet
at Toronto Lester B. Pearson Airport (YYZ)
one of the few airlines in the world flying the -600-series
C-FWLH - North American (Canadian Car & Foundry Co) Harvard MK IV - Canadian Harvard Aircraft Association -
at Tillsonburg/ON Airport (YTB)
c/n CCF4-227 - built in 1952
Type: McDonnell Douglas DC-10-30
c/n: 47868
Owner: Canadian Airlines
Location: Heathrow
Date: 2 June 1996
C-FCAB
Boeing 767-375ER
Air Canada
Heathrow
Runway 27L
27/10/2003
"delivered to Canadian Airlines International 15/04/1988, transferred to Air Canada 29/03/2001. In service until 19/10/2017 wfu, stored MZJ 25/10/2017"
This was a rarity caused by fate. RailAmerica decided anything with other than an EMD 645 powerplant would be retired. So these 567-powered ex ATSF GP7Us were sidelined, even though in fine operating condition. That is, until the one of the replacing GP38s went over the edge of a drawbridge and the other suffered a catastrophic mechanical failure. And back came the nicely painted Chesapeake & Albemarle power, if only for a bit. Photographed at "Bob's Fishin' Hole" near Moyock, NC in November 2011 accompanied by retired C&A engineer Gary Goodmundson, a really great guy.
Sony Alpha a7 (ILCE-7) + Carl Zeiss Planar T* 85mm f1.4 C/Y (Contax/Yashica)
@ 85mm f1.4 1/125s ISO-800