Kim Lordier plein air painting -
Kim Lordier, "Dahlia's at Half Moon Bay Nursery," 12 x 12 in., plein air

Discover what’s inside the newest issue of Plein Air magazine, including dramatic lighting in landscapes, textural watercolors, “broken color,” and more, in this sneak peek.

PleinAir Magazine publisher Eric Rhoads talks a lot about the plein air community, and the part that each of us plays, in his bi-monthly Publisher’s Letters. For me, this issue is a celebration of that reality. But there are lots of ways to define community, and, as the stories that follow illustrate, the reach of a committed and passionate group can extend far beyond its own members.

PleinAir magazine
The cover of our August/September 2019 issue of Plein Air Magazine; art by Kim Lordier (Click here to buy the digital version now)

A dramatic example of that influence can be found in “En Train Air,” the account of six well-known plein air painters who rode a long-distance train on a route that’s in danger of disappearing. (Listen to the PleinAir Podcast featuring the artists here!) In doing so, they called attention to the small towns along the way that will suffer most if that happens. Not only will the work they created on the trip document these communities in crisis at a pivotal moment, the group is developing a blueprint that other artists can follow. Thus, the people in those communities will be exposed to plein air painting in a way they wouldn’t have been before, and the plein air painters who visit their towns will be giving back in tourist dollars and attention for all the inspiration they receive.

On a smaller scale, but as powerfully revealed, Suzie Baker had an experience that closed the gap between the plein air community at the Olmsted Plein Air Invitational and the broader community of Atlanta — specifically the members of the historic Ebenezer Baptist Church and those involved with the civil rights movement in the area. I won’t spoil the story (for that, you’ll need to turn to “Postcards From the Road” on the back page of the issue), but suffice it to say the impact the encounter had on all involved was extraordinary.

These kinds of meaningful experiences aren’t limited to the artists who make the paintings, however; they extend to those of us who collect and admire the pieces as well. For “Collector Profiles: Passion for Plein Air,” I talked to four couples about what sparked their interest in collecting plein air paintings and what drives them to select certain pieces. In all cases, a connection to the artists, the subject matter, and the communities that thrive on the exchange came to the fore.

Artists, collectors, and others active in the plein air community affect one another and those outside of this unique environment in ways both big and small every day — often without even knowing it. When I was sharing details about the stories I wanted to tell in this issue of the magazine with our marketing team, Richard Lindenberg, national sales manager and a respected painter in his own right, revealed that cover artist Kim Lordier is the reason he started painting. She inspired him many years ago when he saw her work at an event.

Every time you pick up a brush or a pastel stick, buy a painting, volunteer at an event, or bring attention to a worthy subject in your work, you have the opportunity to effect change or inspire others with your efforts. No matter how big or small the act or the intention, you can help spread the word about the art form that drives us all, creating ever fewer degrees of separation between the people you meet and plein air painting.

Plein Air magazine, August/September 2019 Table of Contents:

Plein Air Magazine contents

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