Millions of Americans ventured outdoors on Monday, August 21, to witness the incredible total solar eclipse that swept across the nation from Oregon to South Carolina. Naturally, among them were plein air painters, eager to take advantage of this exceedingly rare artistic opportunity. The results?
It was just about a year ago that painter Donald Neff traveled to Japan for Thanksgiving to visit his son, Justin, and to paint. He returned home with paintings, memories, and a valuable lesson.
Long stretches of highway and wide breadths of landscape have dominated our summer. This body of work represents thousands of miles traveled, a half dozen mountain ranges, and countless good times in between. The following is an account of just one such trip, from Billings, Montana, to Paradise Valley, Bozeman, and back again.
In September 2018, PleinAir Publisher Eric Rhoads will take a special group of 50 painters to South Africa for a once-in-a-lifetime plein air safari. Accomplished painter Katerina Ring, who offers a similar painting tour in Zambia, has some encouraging thoughts about why you need to take advantage of this opportunity.
Because I’ve been painting so long, I use color intuitively. I just “feel” my color. I choose colors automatically and know which ones harmonize or contrast with each other depending on the effect I want. I have long since stored by paint-splattered color wheel deep in a drawer in my studio, ignoring the wealth of information hidden within it. I’m sure I learned all there was to know about color in high school or college, so what is the point?
Outdoor painting is so much more than a creative outlet—it’s a way to connect with nature, form lifelong relationships, and expose passers-by to an exciting cultural phenomenon. Discover how one ascending watercolorist is using his talents to give back to the community he captures in so many beautiful ways.
Moonlight has fascinated artists for centuries. Writers have composed about its romance, artists have painted its mystery, musicians and composers have been moved to produce beautiful passages that evoke those ideas. But while moonlight has been depicted by many painters, it was often done from memory — out of necessity, because it’s hard to see and paint in the dark.
Several artists of the Missouri Valley Impressionist Society embarked on their own adventure while in attendance at the Door County Plein Air Festival two weekends ago. What they found was extraordinary and beautiful.
“May the ‘Plein Air Force’ be with you!” says accomplished pastel painter Susan Nicholas Gephart, who recently handed out some custom awards to the next generation of outdoor painters.
Throughout art history, it’s common to find generations of families with art as their vocation. Despite being less frequent today, there are artists alive today who find themselves part of a storied family tradition, including the talented Poppy Balser. What happens when artistic passion is not only inherited, but encouraged and supported in the younger generation?
Probably the same thing that challenged my progress as an aspiring artist many years ago, and the same thing that holds a lot of art students back: preconceived notions about the painting process. That was the short answer. Now for the long answer. I am going to attempt to tackle that question in a circuitous route, but one that hopefully will connect with the reader.
One of the nation’s premier painting events, Plein Air Easton, witnessed another fantastic week of camaraderie, warm weather, and stacks of brilliant paintings. Both established and up-and-coming names filled the winners list. Take a look!
I was recently invited to be a guest artist at Bryce Canyon National Park during the annual Geology Festival. It is the first time an artist has been invited to present at the event, which is sponsored by the Park Service and the Bryce Canyon Natural History Association. It was my hope that my visit might kick-start a permanent artist-in-residence program there. I think we may have succeeded.
Seventeen regional artists from around the Twin Cities of Minneapolis and Saint Paul, Minnesota, are currently showcasing a vibrant display of plein air paintings during this selling invitational. Where can it be found?
It’s not surprising that Venice, Italy, is renowned for much more than its unique geographic location, food, and iconic gondolas. Indeed, for centuries scholars, aristocrats, royalty, and — of course — artists have all become enamored with the jewel-like colors that dance off the city’s canals and pastel-colored buildings.
Well-known painter Donald Neff recently found himself aboard an Alaskan cruise ship for the fourth time, with a slightly different set of priorities than touring and sightseeing: painting en plein air. His results?
Brushwork is the last of the five tools in the “Painters Toolbox of Expression,” and this tool deals with texture. Because textural technique is very personal to the individual artist, no one approach is considered to be correct. Like edges, special brushwork is not even necessary, but more an enhancement to a well-designed painting. It’s generally true that brushwork is rarely spoken of by art teachers, and therefore seldom taught, especially on the university level.
Our hard-working sales superstar Tracey Norvell recently posed this question to prolific artist Jude Tolar: “Do you know of a great, light pochade box for pastel painters?” Tolar’s response was worth quoting in full.
It’s hard for a lot of artists to “take the plunge” into full-time painting, let along taking up art in the first place. However, the story of Emilie Lee is about as extreme — and entertaining — as it gets. Take a look!
My first introduction to the world of plein air was about three years ago, when I just happened to be standing near the campground host at Red Bluff Park in Davisville, Missouri, when three men from Steelville Arts Council approached the host to inquire about bringing 50 artists to the park for a day of painting. It had been over 30 years since I picked up my paintbrushes, but immediately I was drawn into the conversation when I interjected, “I wanna paint.”