The ideas presented here are reproduced from a paper I did for my painting class a few years back.
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.
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.
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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.
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.
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.
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.
Can anyone imagine doing a painting without using a number of values? Well, as an abstract design possibly, but it would be a weak design, depending solely on color for its strength. So strong are values in the painting process that the old adage is true that says: “In painting, values do all the work, but color takes all the credit.”
There are many plein air artists who simply don’t have the luxury of painting full-time and, as a result, keep other employment to make ends meet. Be that as it may, I would venture to guess that there are also many who find themselves in a situation where painting and profession aren’t necessarily mutually exclusive. Details here.
This week’s article delves further into the “Painter’s Tool Box of Expression.” Last week I highlighted drawing, and this week we will look at color.
For the very adventurous outdoor painter, room — and weight — are crucial things to consider. PleinAir Today recently visited with artist Gary Geraths, who offered up some sage suggestions.
When it comes to painting, the act of drawing is often a departure from the classical linear concept that is understood by most people. Drawing, in the painting arena, has more to do with large compositional ideas and design elements, such as placement of objects or masses, linear movement, relative sizes of objects, weight distribution, and shapes.
This week, I will follow up on my article from the last issue of PleinAir Today, titled “Three Important Skills Every Landscape Painter Needs.” In this segment I begin to explain some of the concepts that are recommended as a map for studying landscape painting. In my workshops, I do this as a Power Point presentation, but I’ll attempt to explain it here in a few paragraphs.
So beloved was Tommy Macaione to his chosen hometown of Santa Fe, New Mexico, that after his death in 1992 a bronze statue of him painting en plein air was erected in a downtown park. When was the last time you saw a bronze statue of a plein air painter? Maybe one exists in Giverny, the Fontainebleau Forest, or possibly the Laguna coast, but I have not heard tell of one. What made this artist so worthy of a statue?
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, Doug Gorrell’s “River Mist.”
Created by presidential proclamation in March 2013, the Rio Grande del Norte National Monument in New Mexico features 10,000-foot mountains, high deserts, and a breathtaking gorge that — in some places — reaches a depth of 800 feet. Sound like plein air perfection? For Peggy Immel, it sure is.
As the curtain closed Thursday night on the 6th Annual PleinAir Convention & Expo in San Diego, California, I was left with one prevailing thought that characterized well the entire week of fun, new friends, and exhaustion.