“George Ennis’ expressive use of jewel tones in Harbor Activity, Eastport, Maine immediately grabs my attention from across a room and draws me closer. I love how he wasn’t afraid to mix dark blues, greens and reds to render shadows, a technique that can look muddy when employed by a less talented hand. His sparse use of mid-tones and his carefully placed swaths of white highlights keep my eyes moving across the canvas, not settling in one place too long. My favorite strokes are the swirls of bright foam and wave along the coastline set on top of the deep tones of the sea!”
-Catharine L. Holmes, Director of Marketing
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Ennis explained his interest in Eastport, Maine, “It is a region offering every phase of painter-material, ranging in scope from secluded bits of shore and inlet to great panorama of sea and land . . . In the vicinity of Eastport, the question is not ‘What to Paint?’ It is rather, ‘What Not to Paint?’” Ennis’s clear affinity with the region produced a number of oils and watercolors from the summers he spent on the coast. Throughout his life, Ennis continued to spend time between New York City and Maine, founding the Eastport Art Association in 1921 and the Eastport Summer School soon after. Fishing Village, likely depicts Eastport, Maine, and is perhaps best described in Ennis’s own words “A charged brush is used throughout, and the color is kept fluid; blue, green, and red running into one other in the darks, with the effect of deepening them but without loss of brilliancy. . . Direct and spontaneous handling gives a fresh and out-of-doors feeling to the composition.”
 Maine Library Bulletin, Vol 13, January, 1928, p 71
 Ennis, p. 346
Private collection, Rochester, New York