Russian River, 3 p.m.

Mary Robertson | Red Canoe

THIS IS, OF COURSE, the Russian River the casual tourist never sees. He’s in the middle of the damn painting, for one thing. For another, he’s got his eyes closed, soaking up the pure, unreflected heat. He’s too preoccupied, meditating, suspended weightless between water and sky. If he wasn’t on his day off, he’d probably notice the atmosphere is positively luminescent. Pass the Stroh’s, willya?

This is the world as seen by Mary Robertson. “For me, it’s always three in the afternoon, summer,” says Robertson. “No evenings, no mornings.”

Working from photographs, she paints the vacationers and their accoutrements as they float past her vantage point. “It seems to me as though the same swimmers, the same summer people, are always there,” says Robertson, who works with oil on linen and Masonite, not trying to capture the glow of the smogless afternoons but capturing it just the same. This is no small achievement; her work has been compared to Winslow Homer’s, Edward Hopper’s and especially, in its understanding of light, water and timeless human presence, to the Charles River paintings of Thomas Eakins.

“After my first show, somebody pointed that out to me, so I studied him,” says the artist. “It was a little embarrassing, really, for I hadn’t made the connection. To tell you the truth, I just paint what I see.”

The river itself is changing. “Last year,” she says, “They started releasing water upstream. The water is getting clearer. It’s also getting harder to paint. You can see the bottom — it’s like painting gin instead of pea soup. I’m afraid that what Gordon Cook [the painter] said about me is true — that I have a marvelous feel for algae.”

— MELVIN MARCUS

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