This painting was begun over a year ago. It had been painted during the midsummer months where everything is boringly green. I had never been completely satisfied with it, so decided to rework the painting in mid-spring, hoping that the more dynamic range of tertiary colors and deeper atmospheric perspective would make a more interesting image.
The initial stages of this reworking corresponded to the first day of my plein air painting class. This photo represents that first day of work. It was a beautiful day at the landing, with lots of children, their parents, and squawking ducks.
You can see a comparison of this reworking with the painting that it covers over on my Painter’s Workshop page.
I’m currently having a sale on Plein Air Class sessions and Online Critiques. If someone close to you is interested in painting on site, or could use some advice from a well-known artist with almost 50 years of experience, both painting and exhibiting, this would be a good time to make a gift of lessons or critiques. Prices have been been substantially discounted for this sale, with savings of over $100 for Plein Air Classes, and discounts of almost 50% for Critiques. Check out my.
Update: This sale is officially over.
This work in progress was begun earlier in the summer, while everything was still green. The valley is still predominately green, but beginning to shade into fall colors. You can follow its progress on mypage.
From August 22-28 I participated in the Pacific Northwest Plein Air 2016 event in and around the Columbia River Gorge near Hood River OR and Maryhill Museum, Goldendale WA. The event was a competition, exhibition and sale, hosted by the Maryhill Museum. I was joined by my friend John Laney and 38 other artists, and did four paintings over a period of four days. The works were done alla prima and en plein air. Because the works would immediately be placed in a museum exhibition, I built the frames around the panels before doing the actual paintings. This made work a bit awkward, but in the end the weight of one painting with the heavy frame helped stabilize my setup during the first day’s 30 mph gusts of wind.
I have mixed feelings about these events, partially because I think that competition in art tends to place emphasis on the wrong qualities, much like what takes place in Olympic figure skating. Nevertheless, I did get a ribbon award, for “Best Mountain,” and was flattered that Terry Miura, the juror, gave it to me. I owe big thanks to my friend and colleague Cathleen Rehfeld for encouraging us to participate in what was overall a really enjoyable week of painting in the Gorge.
This is a painting that I’m currently working on site, at the Snohomish Valley viewpoint. We are looking west on an unused Department of Transportation right of way, with gate chained shut and marked no trespassing. There is a red road sign that has no icon or instruction, and the entire fence, sign and the right of way itself seem in danger of being completely overtaken by nature. It reminds me of Sartre’s description of foliage waiting to envelope the abandoned town in his novel ‘Nausea.’
No Trespassing: I’ve always been intrigued by the idea that even if there is a sign and a fence barring entry, one’s eyeballs can penetrate the prohibited space, and go dancing and gamboling about like birds on a wing. One can inhale the colors and textures through the organs of sight, like forbidden fruits stolen from a farmer’s field.
This photo was taken after the second session. The painting is being brought up gradually, with the slow articulation of leaf forms and shadows where the brambles of blackberries entangle the left side of the painting. I may emphasize even more the static banding of gray-blue and gray-purple of the sky.
One can often see wildlife at this location; hawks, deer, eagles, garter snakes, wrens, red-winged blackbirds, crows and finches. On the day that this photo was taken I saw a small lizard, which I almost mistook for a twig. It was a fence-sitting lizard, so-called because they are often seen sunning on fence posts. It is the only indigenous lizard in the area, hence easy to identify. During this session I was accompanied by two of my students, Min Zhong and Bin Li. Both were busy painting the Snohomish Valley itself, while my mind wandered down this forbidden trail.
Summer finally seems to have arrived, and I’m celebrating the Sun’s rejuvenating rays by having a sale on Plein Air Class Session Credits. You can go to my classes page,for details about the sale, which include some of the deepest discounts I’ve offered. There is a counter at the bottom of this page that counts down the days until the end of the sale. But don’t wait until the last minute!
Many people think that painting en plein air requires innate talent, that it is an unproductive way to spend one’s time. An artist once said ‘the great thing about plein air is that you get to live your life while you are painting it!’
Painting en plein air is less about representing the countryside or urban environment than it is about becoming aware of life’s underlying rhythms. By sustained looking and listening, the distractions of daily life fall away. We find ourselves more fully occupying the moment. By replicating nature’s pulse in the gestures of our brushstrokes, we train our mind on what is essential. The paintings that result, records of observation and reverence, are just the icing on the cake.
Painting en plein air is good for your soul!