In this new episode of the Plein Air Podcast with Eric Rhoads, explore how plein air painting shaped John Lasater’s artistic journey—from the highs and lows of the competition circuit to learning composition through feeling, study, and community.
For John Lasater, plein air painting has never been only about chasing pretty views. It has been a proving ground, a livelihood, a spiritual exercise, and a way of learning what truly matters in a painting.
In this conversation with Eric Rhoads, Laster looks back on more than two decades in the plein air community, from the early days of painting alongside friends at informal retreats to the intense demands of the national competition circuit. Known for expressive brushwork and an increasingly simplified, contemplative approach, he speaks candidly about the victories, disappointments, and hard-won growth behind the awards.
The Highs and Lows of the Plein Air Circuit
For years, Lasater traveled to six to eight events annually. Those events were not casual outings. They were the central means of supporting his family, which meant every trip carried the weight of travel costs, framing expenses, preparation, competition, and the hope of sales.
That life could be thrilling and exhausting in equal measure. A Best of Show award in Sedona was a major honor early in his national career, but it came with the sting of selling nothing. Soon after, he and fellow artist Jason Sacran drove to Plein Air Texas, endured a flat tire and empty pockets, and arrived at an event where every painting sold.
“I wanted to earn my rewards.”
That sentence says a great deal about Lasater’s relationship to the circuit. The uncertainty was difficult, but it demanded discipline. It also provided immediate feedback, whether that meant encouragement, discouragement, or an invitation to grow.
Lasater eventually stepped back from constant travel in 2019. He felt it was healthy to make room for younger artists and to pursue different priorities, including more studio work and time in places that carried personal meaning, such as the Grand Canyon.
Painting What Matters, Not Just What Sells
One of the richest parts of the conversation centers on subject matter. Lasater does not dismiss beautiful, majestic scenery, but he warns against relying on the subject alone to carry a painting. A mountain may be magnificent, yet the painting still needs thoughtful composition, shape design, color relationships, and a clear visual language.
“I think the feeling needs to lead you in.”
Feeling is the doorway, but it is not the entire process. A painter may be moved by a place, then must translate that response through the formal elements of art. Lasater is often drawn to scenes that suggest exploration and adventure, especially when late light begins to reveal a form within a vast landscape. The question becomes: what is beyond that ridge, around that bend, or on the other side?
Landscape painting, in his view, offers an unusual openness. Nature already carries meaning for people, and painting trees, rolling hills, and open spaces can bring life both to the artist and to the person living with the work.
Study the Artists Behind the Artists
Lasater’s practical advice for beginning painters is wonderfully direct: build a small library of visual references. Choose six to eight artists whose work connects deeply, print images of their paintings, and keep them nearby while working.
His own influences include Corot, Cézanne, Edward Hopper, Monet, Richard Schmid, and many contemporary painters. The point is not imitation for its own sake. It is learning to compare, diagnose, and gain permission to simplify.
- Find artists whose work genuinely resonates.
- Research who influenced them and trace that artistic family tree backward.
- Place a favorite painting beside a work in progress.
- Ask yourself what differs in values, edges, shapes, color, and paint handling.
- Use that comparison to refine rather than merely criticize.
Historical painters can be especially freeing. Corot, for example, did not render every window in a building. Whistler often softened passages rather than overworking them. Their paintings remind artists that omission can be a strength.
A Studio, a Community, and What Comes Next
After a difficult period with slow sales, Lasater took the risky step of renting a studio away from home. That space became a turning point. He invited other artists to share it, creating a small community where ideas, supplies, encouragement, and accountability circulate freely.
That creative fellowship echoes the spirit of the early plein air retreats: artists gathering not to compete, but to paint and learn together. It is a fitting reminder that a sustainable art life needs more than ambition. It also needs community.
Lasater is continuing to teach, paint, and pursue new opportunities from Northwest Arkansas. For details on his work and upcoming instruction, visit John Lasater’s website.
This short reflection only touches the surface of a generous, honest conversation about faith, artistic ambition, mentorship, competition, and the enduring pull of painting outdoors. Watch or listen to the full Plein Air Podcast episode for the complete discussion with Eric Rhoads and John Lasater.
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Blog post prepared for the web by Cherie Dawn Haas, Editor of Plein Air Today
