Showing posts with label plein air painting. Show all posts
Showing posts with label plein air painting. Show all posts

Tuesday, February 11, 2014

Plein Air in Monterey, CA



In April I'll be heading to the 3rd Annual Plein Air Convention in Monterey, CA. I attended last year as a field painter and I had a wonderful time meeting artists from all over the United States and beyond, listening to the variety of presentations and demos, doing my own demo, painting, and  sharing knowledge. One thing I discovered is that there is a plein air universe out there, a group of artists who go to outdoor painting events and competitions all over the world, and they know each other just like all the portrait artists at the Portrait Society of America conferences. I'm used to hanging with the other East Coast artists, many of whom paint outdoors, making finished paintings and/or studies for larger paintings in the studio, who show in galleries and call themselves simply "landscape painters." So, for me, meeting these artists was an eye-opening experience.



 There's something about outdoor painting that makes people relax. You can't worry about how you look when the wind is blowing your easel over or your palette falls in the sand or the mosquitos attack you or a thunderstorm threatens. I've had many days when the weather has been so uncooperative I'm happy to just have something down on my canvas.  By the time you have spent the better part of the day battling the elements, you are ready to roll. Yes, this is a lively crowd, in case you were wondering. They know how to enjoy life.






I'm one of those artists who has to know a particular landscape to do it justice in a painting. So I'm glad that, this year, the convention will be in Monterey again. One of my favorite children's books, A Spell is Cast by Eleanor Cameron, is set in Carmel, and the descriptions of the area are so evocative I wanted to go there myself to see if it was anything like what I had imagined. It was, but even better, more vivid. The huge cypress trees with their gnarled trunks and gesticulating limbs, the lush wooded areas, the deep turquoise of the ocean, remain in my head and I am looking forward to going back (after re-reading A Spell is Cast one more time of course) and painting there again, allowing the scenery to work its way into my soul.






Monday, September 5, 2011

Some Plein Air Paintings from the Summer

Rocks at Lake Edge, oil, 8" x 10" (This is a study for part of a very large painting I'm working on. . . stay tuned.)

Rocks, Indian Island II, oil on board, 9" x 12"

Rocks, Indian Island I, oil on board, 9" x 12"

Nan's Pots, oil on linen on MDF, 13" x 18"

Lake Edge in Shadow, oil on linen on MDF, 13" x 11"

Lighthouse in Early Morning, oil on linen, 16" x 14"

Monday, August 29, 2011

Painting on an Island in Maine


Last week, I and two other artists, Ellen Cooper and Alyce Grunt, were marooned (not really, but it was fun to pretend) on a small Island off the coast of Maine, We had our painting supplies, of course, and some food, and all the necessities.

It was a very small island. If you like lots of distractions, it probably wouldn't suit you. If you can't be without internet service, it would definitely not suit you. But if you like to paint, there's almost too much to do. Everywhere we turned, there was a painting waiting to be painted. As the light changed, or the weather, the possibilities multiplied. I've visited this special island many times over many years, and I've never been so constantly busy.

I've always liked painting both landscape and architecture, and when the two are combined I think the tension between natural and man-made forms makes an especially interesting painting. On a technical level, I am interested in how different brushes, and brush-marks, can be used to express these forms. Walls are straight yet a structure can feel organic; tree branches grow in curves and forks, yet the patterns are predictable. A rock and a tree trunk can be painted using almost the same color, but what makes them look like what they are?

Color makes a fascinating study. There are many colors in nature, but an artist can mix them with few colors on the palette--or many. I especially enjoyed painting the white buildings on the island, because the different facets of a white object are the best and purest indicators of the color of the direct light and the halftones at different times of the day. A photo will only approximate the colors you see in real life.

When we weren't painting, we cooked, read books, talked (a lot) and just hung out. We even went to the mainland and visited some galleries and the Farnsworth Art Museum. Being in Maine, even for a short time, gave us a break from the stresses of work and everyday life, and put us in touch with what is really important in life. Hopefully as we head into fall we can carry with us memory of our island trip to help us put things in perspective.



Saturday, July 17, 2010

Business Trip to Maine

I can't think of a better place to be, especially if one's business is one's avocation and passion. I do wish Maine were a little closer to Philadelphia, though. Between gallery drop-offs and pick-ups I had ample time to paint with my art buddies Diana Cobb Ansley and Nancy Bea Miller. One lovely evening as the rain clouds were drifting away, we had a grand time painting on top of Cadillac Mountain overlooking Frenchman's Bay and the Porcupine Islands.Painting on Cadillac, 14" x 18"NB at her eaasel
Diana's lovely home in Somesville is the subject of this painting.
I painted this one during a day trip to Stonington on Deer Isle.
We also painted the beaver dam in the middle of Beaver Pond, on the Bar Harbor Road. Photo by Nancy Bea Miller

Monday, July 6, 2009

everyone loves GOOD NEWS


This is the title of the Fischbach Gallery's summer group show. What is good about the news? you might ask. Well, your glass can be half-empty or it can be half-full. Some aspects of the economy seem to be showing a glimmer of hope--art, for instance. It could be that people just get tired of doing without all the luxuries that make life more than just subsistence. . . or it could be that people are actually feeling that the stock market is on its way up and they can start spending again. Whatever the reason, collectors are venturing out again.

Some of my work will be in the show, namely Maine landscapes. My work ranges from sweeping aerial vistas of the Maine coast to smaller, more intimate views of places, and some in-between.

everyone loves GOOD NEWS
June 2 - August 14, 2009
Fischbach Gallery
210 11th Avenue at 25th Street,
New York, NY 10001

Tel: 212-759-2345

info@fischbachgallery.com

www.fischbachgallery.com