Newsletters from the Plein Air Painters of America are usually interesting, but the latest one caught our eye because of some tales from veteran plein air painter Skip Whitcomb.
Don’t take it from us — hear it from one of plein air painting’s stars. The Plein Air Convention & Expo (PACE) is the place to be in April.
Particularly in plein air painting, where carrying a lot of paint tubes around and having a complex palette is often avoided, artists go for a split-primary palette, with a warm and cool for each primary color. So what is your warm blue?
A plein air painting session for Stephanie Marzella can last six hours in her new home in South Carolina. Why?
Malta painter Andrew Borg found beauty in a historical salt manufacturing compound. He explains his process and the site’s history below.
Tomas Honz has an impressive body of work focusing on various sky conditions. It was not done without a fair amount of adversity.
Minnesota artist Philip Alexander Carlton was not impressed with painting winter in the Midwest until he realized he could apply lessons learned on his lengthy road trip.
Artist and art industry veteran Terry Stanley has some advice for art instructors who encounter students with a block stopping their progress.
In this series, plein air painter and instructor Jeanne Mackenzie takes a look at new paintings by contemporary artists and points out why they succeed as painted images. This week, Kurt Jacobson’s “DeLong Lake, Alaska.”
North Carolina painter Jean Cauthen says she seeks out “the places between or in back of places,” by which she means finding a strong design rather than painting a portrait.
We are accustomed to new technology driving old ways to obsolescence, but Kathleen Gray Farthing found that her mother’s old fur coat is an exceptional guard against winter cold.
Thomas Jefferson Kitts posted a video online of his visit to the “Vision of Spain” murals by Joaquín Sorolla y Bastida, housed at the Hispanic Society in New York City, and thousands are appreciating his eye and his edits.
In this series, plein air painter and instructor Jeanne Mackenzie takes a look at new paintings by contemporary artists and points out why they succeed as painted images. This week, Kayti Didriksen’s “Fall Evidence, Catskills.”
In this series, artist Lori Putnam speaks on the role artists can play in the conservation and preservation of land, cultures, and buildings. In this final installment, Putnam explains the “why” of artists and conservancy.
It took an unconventional painting done from a photograph taken at an extreme vantage point to set David Boyd, Jr. on his current path as a plein air pain
Actually, Lynn M. Rix tried to avoid greens by painting from a boat ... and she ended up painting a lot of green. How so?
It takes a bold person to write a manifesto on art, considering, among other things, that there are as many opinions about art as there are artists. Jerry Fresia is that bold person. We think there are some truths worth hearing again in his statement from Italy.
In this series, artist Lori Putnam speaks on the role artists can play in the conservation and preservation of land, cultures, and buildings. In this installment, Putnam discusses the Sedona Plein Air Festival’s theme of Native American Legacy.
In this season of giving, many people are looking for ways they can make a difference and help other folks. Here’s one worthy cause, and an easy one for artists with extra art materials.
For Jane Boyd, the key to simplifying her paintings was simply to put down the paintbrush.