Return to Campobello Island - and the Traveling Palette

"Lake Shadows" 9x12 oil/panel - $150 unframed + $12 shipping

We've been back on Campobello Island for about a week now, and things are quiet.  It's always quiet in May, but I enjoy that because it's my time to clean the dust out of the studio, take stock of my painting supplies, get the gallery set up and even paint a little.  I haven't gotten to the painting yet, but as soon as this patch of rain moves offshore, I'll be out there.  For the time being, I thought I'd post the above painting that I did just before leaving last fall.  I'll start posting this season's work soon.

We're also working on the house over in Lubec.  This is our Artist Retreat Studios and Gallery project.  As I may have mentioned elsewhere, our idea is to make the house into an apartment and studio suitable for an artist who may want to come up for a week, a month or longer, to use as a base camp for explorations.  We've just about got the apartment done, and now we're working on the rest of it.  If you're interested, drop us a line or follow the link to the blog where we post updates:  http://artistretreatstudiosandgallery.blogspot.com

Although we're pretty busy right now, we're taking breaks, too.  Yesterday we went into the park (Roosevelt Campobello International Park) to see how the season is progressing.  Fiddleheads are still unrolling, and the grass is just about the greenest I've ever seen it.  By the way, in our yard, the apple trees are poised to bloom.  I'm excited to be painting those again soon.

(That's not a bear - that's Saba the dog!)

When people learn we go back and forth between Arizona and Campobello, they have one question:  Do I change my palette based on location?  No, I don't.  Certainly, seascapes and maritime paintings tend to use more blue and green; my paintings of the Southwest tend to have more reds and yellows.  But I don't change my palette.  For oil, I use the same six colors plus white (and a little Chromatic Black for muting mixtures).  For pastel, I use the same 120 colors.  This is because both palettes, oil and pastel, are based on the color wheel.  From this, I can mix just about anything I need.  The only time I change my palette is when I want to experiment with color.  Soon, I hope to play with some brand new colors I got from Gamblin.

For the record, here are my standard oil colors (Gamblin brand):

• Cadmium yellow light
• Cadmium yellow deep
• Cadmium red
• Permanent alizarin crimson
• Ultramarine blue
• Phthalo emerald
• Chromatic black
• Titanium-zinc white

For pastels, I use the full, 120-color set of Faber-Castell Polychromos pastels plus a selection of Mount Vision pastels that follow the same color wheel concept.  (See my book, Backpacker Painting: Outdoors with Oil and Pastel, which is available at Amazon, for details.)

May Newsletter from Michael Chesley Johnson

 "Mabel's Gate" 9x12 oil - $300 unframed, contact Michael
A view of Mabel Dodge Luhan's historic front gate in Taos, New Mexico

May Newsletter from Michael Chesley Johnson

May, 2013
Campobello Island, NB, Canada

 We logged another 3600 miles on our cross-country trip from Arizona to Campobello Island, New Brunswick.  Looking back, it seems like it was an easy trip.  Having stops along the way broke things up, and life slowed to a leisurely pace.  We spent a week in Santa Fe exploring galleries and taking photos of buildings in the historic parts of town; and then we had a week in Taos, where I led a painting retreat with five talented artists.  Next, I taught a workshop at the Art Barn in Valparaiso, Indiana -- this was my fourth time teaching there -- and followed that with a second workshop in nearby South Bend for the Northern Indiana Pastel Society.  I also had the pleasure of giving a lecture for the Society at the South Bend Museum of Art.  I was honored when the Museum made me their featured "First Friday" speaker.  I had over 50 in the audience!  Finally, we ended our travels with a visit to family in Vermont and then a day in historic Castine, Maine.  (By the way, you can always find details of my trips on my blog, plus tips and techniques for the outdoor painter.  Follow http://mchesleyjohnson.blogspot.com to stay current.)

Upcoming Plein Air Events in Castine and Pemaquid Point, Maine

I wanted to stop by Castine on the way home because I've been juried into the first annual Castine Plein Air Festival and wanted to scope it out.  The Festival lasts only one day -- Saturday, July 27th -- but there'll be many good painters plus prizes and a sales event.  If you've not been to Castine, you're in for a treat.  It's off the beaten path, which means it is quiet and still unsullied by the modern world.  I love to paint architecture, and you can bet I'll be on the street painting some of the beautiful, old buildings.  (For details on the event, visit http://www.castinearts.org/)

Another event I'm participating in this summer is the Pastel Painters of Maine's annual retreat at Pemaquid Point.  This is in late May, and about 30 of us will be based at Hotel Pemaquid and painting at the lighthouse.  Also, I have been asked to give a demonstration to the group as well as do an evening critique of participants' work.  This will be exciting for me because I love that lighthouse and look forward to demonstrating for this group of serious painters!

Here Comes the Judge

In June, I'll be jurying in work and giving awards for the annual Great Lakes Pastel Society Members' Exhibit.  I'll be doing the same for the annual national show for Pastel Artists Canada in August.  Finally, in October, I'm serving as juror and judge for the Southern Appalachian Artist Guild National Show in Blue Ridge, Georgia.  All three organizations have wonderful artists among their membership, and it'll be exciting to see the work they send to the shows.

The Geometry of Nature: Two Visions, August 14-September 3, Lubec ME

Trina and I will have a two-person show in Lubec, Maine, August 14 – September 3, at Lubec Landmarks.  The show is called “The Geometry of Nature:  Two Visions.”  Trina will be showing some of her wonderful kaleidoscopic art; I will be showing new and smaller paintings of the area.  Work will be priced to sell!  If you're in the area, we hope you'll visit!

I'll be Featured in The Artist's Magazine

I am pleased to announce that I will be featured in The Artist's Magazine in the upcoming September issue.  This is a real coup for me.  Although I've written for TAM and Pastel Journal for over a decade, I've never had an article written about me. The article will show several new paintings plus at least one new demonstration.  Additionally, both magazines have articles authored by me "in the hopper" and should appear in the next few months.

Paintings for Sale - Online!

For those of you wondering where my online store has gone, have no fear.  Now that we're settled at the summer studio, I've restocked my Daily Paintworks store and have begun posting to the Friar's Bay Studio Gallery blog.  As before, the Daily Paintworks store offers affordable art -- demonstrations and sketches.  The Friar's Bay Studio Gallery blog offers finished gallery-quality pieces.  In both cases, the paintings will be unframed to save on shipping costs and to keep the price down.  I'll continue to post work to both locations over the summer.

Books Now Available at Amazon

I'm proud to announce that all of my books are now available at Amazon!  You can visit my Amazon author site here to buy the books:  http://www.amazon.com/author/johnson.

The books are:

• Backpacker Painting: Outdoors with Oil & Pastel ($45)
• Through a Painter's Brush: The American Southwest ($40)
• Through a Painter's Brush: A Year on Campobello Island ($40)
• Paint Sedona: A Plein Air Painter's Field Guide to Sedona, Arizona ($10)

Prices are the same as they have been through Lulu.com.  I don't make much money on these books; I wrote them for painting students and collectors so they can become more knowledgeable about the process of painting and also about the places I live in and travel to.  These books are eligible for free "super saver" shipping, and Amazon being what it is, you can order them at the same time you buy your health and personal care items (among other things.)

At this point, I only have the paperbacks.  (Kindle versions will be coming once I have time to work out formatting issues.)  In the meantime, you can still order digital versions (ePub, PDF) from my Lulu store.

Registration for Paint Campobello Is On!

My Paint Campobello plein air workshops are starting to fill!  Similar to Paint Sedona, Paint Campobello workshops are four half-days with time left to explore or paint, and it's been very popular with painters who bring along family or friends.  Campobello Island has some of the very best maritime scenery.  Think quiet beaches, bold cliffs, broad meadows, working harbors, lighthouses and, of course, lobster!  Workshops run from July into September.  For details, please visit my Paint Campobello plein air workshop site.  Also, don't forget that Friar's Bay Studio Gallery will be opening in July, but we're also happy to have visitors before then.  (PS We'll be open Memorial Day Weekend.)

By the way, I am reserving one week for a "US-Only" workshop, which will be based in Lubec.  For those of you in the US without passports, you can rest assured that we will not leave the country!  Dates are September 10-13.  You can register through http://www.PaintCampobello.com.

I'm also teaching a four-day workshop in St Andrews, NB, September 5-8.  This is my 7th year teaching for Sunbury Shores Art and Nature Centre.  Over the years, I've taught there in mid-August, but some of the local students asked if I could switch the date to September, when the weather is cooler.  If you are one of those local students who asked, I am expecting you to sign up! You can find details on this and all the other workshops at the end of this letter.

Albert Handell Workshop - A Rare Opportunity with a Master Painter

I am hosting a studio/plein air painting workshop with master painter Albert Handell in Lubec August 26-30.  If you're not familiar with Mr Handell, he has been teaching for many years and is a much-sought-after instructor.  In 1987, the Pastel Society of America inducted him into its Hall of Fame, and in 2000, the Pastel Society of the West Coast honored him with a Lifetime Achievement Award for Pastel.  He has won Master signature status from Oil Painters of America, Pastel Society of American and the American Impressionist Society.  You don't want to miss this rare opportunity to work with Mr Handell in Downeast Maine!  The workshop, which will be based in Lubec, Maine, will cost $675 and run from August 26-30.  For full details, please visit http://www.AlbertHandellWorkshop.com.  I am very excited to have him here.

So that's all for now!  Have a great summer!

Michael

Michael Chesley Johnson
www.MichaelChesleyJohnson.com
http://mchesleyjohnson.blogspot.com
www.PaintCampobello.com
www.PaintSedona.com
575-267-2450 / mcj.painter@gmail.com

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Prepare for Plein Air:  Not sure how to go about painting outside? 
Check out my online course! Great for beginners.  Visit www.PrepareForPleinAir.com

Remaining 2013 Workshops

July-September:   CAMPOBELLO ISLAND, New Brunswick - All media.  Michael's 7th summer!  $300/4 half-days.  See website www.PaintCampobello.com.
September 5-8: NEW BRUNSWICK, St Andrews.  All media.  Four-day.  Price: $295. Contact:  Sunbury Shores Arts & Nature Centre, info@sunburyshores.org, www.sunburyshores.org,  506-529-3386
September 10-13: MAINE, Lubec.  Price: $300.  See website www.PaintCampobello.com.
October 8-10:  PENNSYLVANIA, Millheim.  Price:  $300 (also 2-day option for $200).  Contact:  Green Drake Gallery, 814-349-2486. greendrakeart@gmail.com
October 12-13:  MARYLAND, Towson.  Price:  $150.  Contact: Diane Margiotta, 410-664-1004,  23artist@gmail.com
October 18-19:  GEORGIA, Blue Ridge.  Price: $160.  Contact:  Blue Ridge Mountain Arts Association, 706-632-2144, http://blueridgearts.net
October 21-23: FLORIDA, St Augustine.  Price: $350.  Contact: Lyn Asselta lynasselta@comcast.net
October 2013-April 2014:  ARIZONA, Sedona.  Paint Sedona resumes! For full details, see www.PaintSedona.com.

2014 Workshops

January-April 2014:  ARIZONA, Sedona.  Paint Sedona continues!  For full details, see www.PaintSedona.com.
April 21-27:  UTAH, Zion National Park. Painting Retreat.  FULL, waiting list only.  www.PleinAirZion.com.
September 29-October 2:  MAINE, Acadia National Park.  Price: TBA.  www.AcadiaWorkshopCenter.com
October 4-5:  NEW HAMPSHIRE, Monadnock Region.  Price: TBA.
October 13-15:  TEXAS, Amarillo.  Amarillo Art Institute.  Price: TBA.   www.AmarilloArtInstitute.org.

2015 Workshops

May:  NEW MEXICO, Santa Fe.  Painting Retreat.  www.PleinAirSantaFe.com
October 6-9:  MAINE, Acadia National Park.  Price: TBA.  www.AcadiaWorkshopCenter.com

Interlude in Castine: 2013 Castine Plein Air Festival

On our way back to Campobello Island, we decided to stop in historic Castine, Maine, for a night.  If you've not been to Castine, it's a wonderful town with beautiful old buildings and a historic waterfront.  It's also going to be the location for the juried 2013 Castine Plein Air Festival, in which I will be participating.  Having not been to Castine before, I thought it would be a good idea to detour and scope out the scenery.

Castine's not very big, just a few large blocks.  We parked down at the public dock and walked from there, taking pictures of some of the older houses.  (The oldest date from the 1790s; and as a side note, I should add that some of the earliest homes were moved via boat from Castine to St Andrews, New Brunswick, by Loyalists at the end of the Revolutionary War.)  We then had a bite to eat at Dennett's Wharf Restaurant.  We split an order of fish and chips and a cup of seafood chowder.

We observed to our waitress that the town seemed curiously empty.  "Oh," she said, "the boat just left this afternoon."  It turns out that the Maine Maritime Academy, which is in Castine, ended its term today, and the T/S State of Maine, a training ship used by the Academy, set sail on a two-month training cruise with the students.  We heard its horn blow as it departed.  I'm not sure if all 800 students were aboard, but they certainly were not in town!

After supper, we walked some more and stopped in at Lucky Hill Gallery.  As luck would have it, the gallery is owned and run by painter Dan Graziano and his wife, Kristin Blanck.  Dan is also the organizer of the Castine Plein Air Festival.  (It is being sponsored by the Castine Arts Association.)  It was a pleasure to run into them both, and we talked about the event.  It's shaping up to be a good one, and I'm hoping my readers and collectors will think about coming to Castine for this event, which will on July 27th.

After our walk, we went to our hotel, the Manor Inn.  This Inn is – you guessed it – another historic building in Castine.  Built in 1895 as a summer cottage for a Commander Fuller of the South Boston Yacht Club, it's now also includes a restaurant.  We have a lovely room with a view of Penobscot Bay and the fog creeping along its shores.

Tomorrow, we're off off to Campobello Island and our new project in neighboring Lubec.  It is going to be a busy summer!

Workshop Report: Northern Indiana Pastel Society

Indiana Dunes

After leaving Valparaiso, we made the short drive over to South Bend, where I was scheduled to teach a two-day workshop for the Northern Indiana Pastel Society.  But first, we made a quick stop at the Indiana Dunes National Seashore for a walk.  Overcast, somewhat foggy and 44 degrees made for a cool stroll.  The wind was up, too, throwing some big waves on the shore – waves big enough that we might have been at the ocean!  But most impressive were the 50+ foot dunes.  I'd love to paint them some day.

Like several other locations managed by the National Park Service, Indiana Dunes has an artists-in-residence program.  The Visitor Center has an ongoing exhibition of work donated by the artists over the years.  I was inspired to see the paintings, many of which featured the dunes.

In South Bend, after being greeted warmly by our hosts, I got ready for my lecture.  NIPS asked me to talk about my life as a travelling painter – how my palette differs from place to place, and so on – and the South Bend Museum of Art graciously made me their featured speaker for ""South Bend Downtown First Friday".  We had a good turnout with perhaps 45 or more.

The workshop I taught Saturday and Sunday was a little different from my usual plein air painting workshop.  This was "plein air sketch to studio."  The twelve of us spent Saturday gathering reference material in the form of pencil sketches and notes, color sketches and photographs.  Because we didn't want to waste time dealing with the technology of learning how to download or print images from a dozen different cameras, I asked students to gather as much information as they could without using a camera.  (I suggested we take Frederic Edwin Church as our role model; he painted his magnificent "Heart of the Andes" of 1859 without photo references.)   There was plenty of scenery right outside the Museum, which is located along the St Joseph River.  Many of us chose to focus on the interesting geometry of bridges.

One of my sketches, but I decided not to paint this scene

Sunday, we went to the studio and used our references to create finished pieces.  I discussed formats, composition and design, as well as color harmony.  Then, as I worked on my piece, I had the students work on theirs.   When I played with format choices and designs, they, too, took out their pencils; and when I played with color, they took out their pastels and color wheels.  We also discovered that one of the benefits of having gathered material near the Museum was that, if we had questions about our subject, we could just step outside and take another look!

Here are two photos, one of my reference material followed by the finished demonstration painting.  I'm happy to say that the Northern Indiana Pastel Society bought the painting for its permanent collection and will be used to promote the South Bend Art Museum, which is featured in the piece.

On the St Joe River, 9x18 pastel
(shown in the demonstration mat)

We had a great group -- 11 students -- from Indiana, Illinois and Michigan.  Thanks, everyone, for coming!

Now we are on our way east again.  1893 miles down, and only 1219 miles left to go!

Workshop Report: Art Barn, Valparaiso, Indiana

(Photo by Trina Stephenson)

On our way east each year, I always look forward to my workshop at the Art Barn.  The Art Barn, less than an hour east of Chicago, occupies 69 acres of rolling hills in rural Indiana.  Established over 40 years ago by artist and teacher Janet Sullivan, the property offers plenty for the outdoor painter including a pond, woods, meadows and, of course, the barn, which has a spacious studio for indoor work.  And, if anyone wants to paint animals, there are chickens, ducks, a donkey and even a pony.

(Photo by Trina Stephenson)

Many artists have taught here over the years, including my late mentor, Ann Templeton.  (She recommended the Art Barn to me.)  This year, besides myself, the teachers include watercolorists Ken Hosmer and Frank Francese as well as oil painter Lesley Rich.

Indiana Trillium

I always teach at the Art Barn in the spring.  This year, my fourth season, almost everything was blooming – spring beauties, trillium, forsythia and bridal veil.  Only the dogwood in front of the barn was slow.  Last year, it had already come and gone by the time I arrived; this year, I'm sure it bloomed right after I left.  Every year is a little different.

(Photo by Trina Stephenson)

I had a good group of students, including Janet Sullivan, who always takes my workshop.   Most came from a few minutes away, but some came from Fort Wayne and Chicago.  We had some wonderful painting sessions with plenty of sun and a chicken or two.

(Photo by Trina Stephenson)

I'm looking forward to returning to the Art Barn for another plein air painting workshop in 2014.  Once I've got the date - probably in May - I will let everyone know.

Now I am on my way to South Bend, where I am teaching a weekend workshop for the North Indiana Pastel Society.  Friday evening, May 3rd, I am giving a lecture at the South Bend Museum of  Art at 6:15, with reception to follow.  If you're in the area, I hope you'll come by.

Barn with Chickens, 9x12 oil - Michael Chesley Johnson

Barn with Dogwood, 9x12 pastel - Michael Chesley Johnson

A Hint of Spring, 9x12 oil - Michael Chesley Johnson

Choosing a Painting Workshop

Dogwood at the Art Barn 8x10, oil

As I write this, I'm at the Art Barn School of Art in Valparaiso, Indiana.  Spring has finally come to this part of the world – the woods are filled with a lacy fluttering of green, spring beauties carpet the ground, and the trillium and dogwood are just about to bloom.  It'll be fun to get out this week with the students to paint the "spring greens."

With spring here and summer nigh, many artists are thinking about taking a plein air painting workshop.  What should you look for in a workshop?

First, consider what you want.  This might be:

• A painting holiday, such as a week in which you can relax, tour and maybe do a little sketching
• Time for sharpening your outdoor painting skills
• An adventure in painting a landscape that is unfamiliar to you
• A week learning new skills or techniques
• Networking to expand your circle of painting friends

I'm sure there are many more.  Not all of these require an instructor.  You can do a lot on your own.  But if you'd like guidance, a location scout, or instruction, you'll need a teacher.

How do you find a workshop?  Although I teach workshops myself, I take about one a year.  Here's what I look for:

• Do I like the teacher's paintings?  Are they something I might aspire to?
• Does he have something to share that will make me a better painter?
• What do past students have to say about him?  Is he professional?  That is, is he knowledgeable and eager to share?  Is he encouraging yet helpfully critical?

Finally, when I read the description for the workshop, I make sure that I understand it.  I don't want my expectations to be different from what the teacher promises.  If the description isn't clear, then I write or call the teacher for clarification.  For example, for my own workshops, I have a FAQ that students should read, as it clearly lays out what to expect.  Reading this FAQ helps the student have a much more rewarding experience.  (Here is the FAQ for my Sedona plein air painting workshop, and here is the FAQ for my Campobello Island / Downeast Maine plein air painting workshop.)

Encounter: Robert Henri

Trina and I have driven Interstate 80 across Nebraska a few times over the years, and each time, a curious sign near Cozad caught my eye.  It reads "Robert Henri Museum."

"But wait," I can hear you asking.  "Isn't Henri considered part of the Ashcan School, and didn't he live in New York?"  I asked myself the same thing.  But we were always in a hurry to get east, so we never stopped.  I vowed I'd stop at the museum, some day.  And that I'd also look up Henri's biography to see what his connection with Nebraska was.

Today, as we made our way from Colorado Springs on up to Denver and beyond, we saw the sign again.  Should we?  Well, we did.

Once you get past the predictable "strip" right off the Interstate, lined with fast-food stops and gas pumps , you'll find Cozad is a quaint town seemingly frozen in the 1950s.  Diners, clothes shops, barber shops, churches, modest homes – it could be the hometown of anybody who grew up during those decades.  Since we were visiting on Sunday, all the shops were closed and the streets were empty.  Just what you'd expect of a town that grew up respecting Sundays.

But that also meant the Robert Henri Museum was closed.  (Turns out it is only open June 1 - September 30.)  At least I took a picture and made a note of the hours for next time.

So what is Henri's connection to Cozad?  Here's what the Museum's web site says:

Robert Henry Cozad was born to John and Theresa Cozad in, we now believe, Spence's Station, which later became Cozaddale, Ohio. John founded the town of Cozaddale in 1871. Between 1872 and 1873 John founded and settled in Cozad, Nebraska.
In their youth, Henri and his brother John Jr. only lived in Cozad during the summers and attended the Chickering Classical and Scientific Institute in Cincinnati, Ohio.

The family lived in Cozad for approximately ten years until an altercation with a local rancher, resulting in the death of the rancher, necessitating the family to assume new identities. Mr. Cozad became Richard Henry Lee, Mrs. Cozad became Tessa Lee, John Anthony Cozad became Frank Southrn (correct spelling) and Robert became Robert Henri (pronounced Hen-rye).

Fearing for his life, John J. Cozad left town the night of the shooting in October 1882. John Jr. was already in Colorado conducting family hay business so Robert and Theresa remained in Cozad long enough to sell the family home in 1883 to Stephen Hendee.

Mr. & Mrs. Lee and their sons (who they said were adopted nephews) eventually all reunited in Atlantic City, NJ where Mr. Lee had purchased property on the Boardwalk. The oldest son then went to medical school and Robert enrolled at the Pennsylvania Academy of the Fine Arts.

We'll try to catch you next time we're in town, Robert.

Robert Henri (from National Gallery of Art)

Taos Plein Air Painting Retreat – Day 5

Farewell to Taos!

We had rain in the night, but we awoke to a full moon setting in the west and fog-wrapped mountains in the east.  The morning air was filled with the fragrance of sage.  Sage is everywhere, but it's not until the rain bruises its tiny leaves that you really understand the spirit of Taos.

After breakfast and critiques, we headed out.  We went back to Arroyo Seco, which has become one of our favorite painting spots.  Although we'd gone there a couple of days ago, that day was overcast; today we had a lot more sun, and it gave the town a whole different aspect.  We set up in the parking lot of the church and went to work.

L to R: Robert, Tara, Me (vacant easel), Jim, Nancy (not pictured, Linda)

This was a pastel day for me.  When I'm traveling, I like to keep the last day for pastel.  This gives me some time to wash and dry my oil painting brushes before packing them away.  Also, in many ways, taking out a box of pastels and some paper is a lot simpler than wrestling with the oil gear.

Arroyo Seco church 9x12 pastel
Caveat:  Perspective looks "off," but this not a plumb structure

I wanted to paint one more picture of the church.  Today we had some nice shadows, which let me see all the "wonkiness" of the structure – askew eaves, tipped cross atop the belfry and so on.  Then, after a quick stop at the Taos Cow for a cup of decaf, I went back and painted a small picture of the mountains and the wonderful clouds that were building up.

Arroyo Seco clouds 9x9 pastel

We then spent the afternoon organizing, packing and taking some last photos of Taos.  We're not sure when we'll be back.  Next spring, I have my Zion National Park plein air painting retreat, which is full, followed by a month in Santa Fe for a series of four, back-to-back painting retreats.

We had a really great week with wonderful comraderie.  Thanks to everyone who came!  Here are the happy campers:

L to R:  Nancy, Linda, me, Robert, Trina, Jim and Tara

Now we bid farewell to Taos and hit the road.  After stops in Colorado and Nebraska, we'll get to Indiana, where I have two workshops waiting for me.  One is in Valparaiso at the Art Barn, and there is still room left in that one; the other is in South Bend, and that one is full.

I'll write more from Indiana.  Till then, happy trails!

Taos Plein Air Painting Retreat – Day 4

Painting at Rio Grande Gorge

We had more spring New Mexico weather Thursday.  The radar showed rain nearby and possibly overhead.  A quick glance at the sky, though, showed the rain wasn't reaching the ground.  Virga, as it is called, can be quite beautiful with its long, feathery drifts of rain, so after breakfast and our daily critique session we headed out for the Rio Grande Gorge.

Demonstrating the use of manganese violet

Ordinarily, the Gorge is best painted in sunlight with good shadows.  But I liked the clouds and the sense of distance the moist air created.  Best of all, though, I liked the little "Ice Cream Bus" parked  on the road by the bridge that crosses the Gorge.  (The bus also advertised "Strong Hot Coffee," and in the 46 degree chill, a couple of our group patronized the bus for exactly that.)

Ice Cream Bus  - If you're not on the bus, you're off the bus

One of the problems with the scene was the preponderance of hueless greys.  As I've mentioned before in my blog, I am red-green colorblind, and some of the more subtle greys tend to look, well, like grey.  If I see a pure, neutral grey in nature, I always to push it toward one color family or the other.  Which color I push it toward has to do what I perceive as the dominant color in the scene.  Today, I convinced myself I was seeing a lot of violet.

I picked up a tube of Gamblin's manganese violet this week, and I have been determined to use it.  (Perhaps this is what convinced me that I was seeing violet.)  It turned out to be the perfect "mother color" to use everywhere in the painting.  The middle-distance cliffs are mostly manganese violet with white and a little Torrit Grey.  The farther ones have some ultramarine blue added.  The closest ones have some permanent alizarin crimson.  Elsewhere, the greens, yellows and oranges have all been moderated with manganese violet.  Even the "school bus" yellow of the Ice Cream Bus has manganese violet in it.

Ice Cream Bus, Rio Grande Gorge 9x12 oil - SOLD

One of the retreat participants asked if I was going to add the letters on the bus.  "Ice Cream Bus" was painted in black along the top, but the letters were too small for a 9x12 format.  I opted to leave them out, hoping that the little seemingly-blank sign propped up in front would indicate that it was some sort of vendor's bus.  Also, the title helps.

Fechin House interior

San Fransisco de Asis church in Rancho de Taos.  This is the back of it.
Why does everyone photo and paint it from the rear?

After lunch, the overcast skies continued, but it seemed a little sun was coming out.  Some went back into town to tour the museums.  The Fechin House and Taos Art Museum are not to be missed.  Not only can you see some prime examples of Fechin's portrait work, but you can also see his handiwork in the house.  He hand-carved every piece of exposed wood, incising intricate scrollwork and other details.  We also visited the famous church at Rancho de Taos – it was painted by Georgia O'Keeffe, photographed by Ansel Adams and probably painted and photographed by a few hundred thousand other people over the years.

Painting on the back porch

Taos Mountain, Sunspots 9x12 oil

In the afternoon, I tried my new palette out on Taos Mountain.  The light was fleeting – shifting sunspots as thunderstorms built over the landscape – but as the mountain and the field of sage in front of it were mostly in shadow, my magenta violet was really appropriate.  (I'm not sure if the two photos of my paintings show the true colors; I'll take better ones once I'm at my summer studio.)

Pizza for dinner at Taos Pizza Outback!

Taos Plein Air Painting Retreat – Day 3

Mabel's View, 9x12 oil

Mabel's Gate, 9x12 oil

We had our best weather yet for our day at the Mabel Dodge Luhan house.  Although the morning started off at a crisp 19 degrees, it wasn't long after sunrise before it got to freezing.  By the time we got to Mabel's house, it was 32 – and in the strong sunshine, that felt like a fine summer's day.

Mabel Dodge Luhan's House

Mabel Dodge, a wealthy New York socialite and patron of the arts, got fed up with the city and moved to Taos in 1919.  She built a home here and began to invite her artistic friends out to visit.  Some of the people who visited were D.H. Lawrence, who painted pictures on the glass windows of the second story bathroom, Ansel Adams, Willa Cather, Robinson Jeffers and Georgia O'Keeffe.  Georgia thought Mabel talked too much, so instead of staying in the main house with Mabel, she stayed across the way in a smaller home by herself.  Somewhere along the line, Mabel divorced her husband and married Tony Luhan, a Taos Indian.  Mabel died in 1962.

Where Georgia stayed

Today, the house is a spectacular conference center and inn with views of the Morada, which we visited yesterday, and the broad landscape of the Taos pueblo.  We were grateful for the opportunity to paint there; for a small fee, we were able to paint, use the restrooms and enjoy coffee and tea.

Tara

Jim

Robert, Linda, Nancy

Afterward, we headed back to Kit Carson Avenue for a meeting with painter Jerry Jordan.  One of our participants, Jim, liked Jordan's work well enough to call his gallery, Parson Gallery of the West, to arrange a visit.  Jordan graced us with about an hour of his time to talk about his history, his painting approach and more.  As a young man, Jordan enjoyed the work of early Taos artists such as Walter Ufer and E. Martin Hennings and taught himself to paint by studying them.  Jordan is known across the US for his paintings of old Taos.

Jerry Jordan

Tomorrow, we may try to paint the Rio Grande Gorge.

Cold enough for a parka!