Plein Air magazine

On newsstands now: The bright palette and limited brushstrokes of Kim English, how painting a lone tree for one year changed an artist, a plein air case study for studio painters, and more! (Read the April/May 2018 issue of Plein Air Magazine now online.)

On the Cover: Richard Suckling, “Autumn Gusts, Gwennap Head,” 2017, pastel, 24 x 24 in., Collection of the artist, Studio

Plein Air Magazine April/May 2018

Publisher’s Letter: Why Community and Excellence Matters

Editor’s Note: At Your Service

The Artist’s Guide to Plein Air Painting in Northern New Mexico

Stormy Eve by Tamara Rymer - Plein Air magazine
Tamara Rymer, “Stormy Eye,” 2017, oil, 22 x 25 in., Collection of the artist, Plein air and studio

Plein Air Portfolio: Storms

Sean Friloux, Along the River’s Edge: This New Orleans native finds inspiration in the city’s quiet moments.
By Kelly Kane

Richard Suckling, Beyond the Motif: Our cover artist makes a case for studio painters to venture outdoors.
By Robert K. Carsten

Davis Perkins, Ever Watchful: A former smokejumper, Perkins learned to pay close attention to his surroundings.
By Bob Bahr

French Afternoon by Kim English - Plein Air magazine
Kim English, “French Afternoon,” 2014, oil, 12 x 10 in., Private collection, Plein air

Kim English, Resplendent Light: With a bright color palette and limited brushstrokes, English energizes scenes of the everyday.
By John A. Parks

D.K. Palecek, Winter of Abstraction: Palecek’s work took on a new freshness after a season’s break from representational painting.
By Bob Bahr

James Asher and Joe Anna Arnett, Oil and Water: A Love Story: These two artists have made a life together, traveling, painting, and supporting one another.
By Kelly Kane

David Pettibone, Turning Routine Into Ritual: Painting a lone tree in the Alaskan wilderness for one year changed this artist’s outlook and art.
By Stefanie Laufersweiler

Redbuds by Julia Lesnichy - Plein Air magazine
Julia Lesnichy, “Redbuds,” 2017, oil, 16 x 20 in., Private collection, Plein air

Julia Lesnichy, Pastelist at Heart: Lesnichy paints in oil and pastel, but finds the latter gives her greater emotional connection to her subjects.
By Bob Bahr

The Elements: Choosing Your Moment to Capture Moving Clouds
By Kim Casebeer

Expanded Digital Content: Designing Your Paintings With Purpose
By John Hughes


Plein Air Heritage

Master Study

PleinAir Salon

Postcards From the Road

Get your copy of the April/May 2018 issue of Plein Air — available on newsstands until late May — or subscribe here so you never miss an issue.

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  1. When I read in the July 2018 issue of Plein Air how Jim Wodark had won the grand prize in the Plein Air Salon contest I was a bit miffed. Seems the powers within must not have any rules for contests, after all you are running a outside plein air painting magazine, group, contest. The very idea someone could just put together an idea for a painting that he took off the internet shows to me anything goes. I’ll be sure to enter my borrowed ideas for future contests myself and please do allow me to win! I bet the people who forged the ideas of painting out doors and being original would laugh at you and how plein air painting is presented now. In my opinion it takes skill and creativity to paint a scene that looks like something recognizable. Most anyone can put together a puzzle picture to make what we now call art. How do you defend the stance you have taken and to what will future contest be like? Enlighten me please.


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