Thursday, November 28, 2013

Why I Like Plein Air Festivals

"A Grand Calm" 16x20 oil/panel - SOLD
by Michael Chesley Johnson
Studio Painting for the 2011 Grand Canyon "Celebration of Art"

I'm proud to announce that I just have been invited to participate in the 6th Annual Grand Canyon "Celebration of Art" plein air painting festival. This prestigious invitational, which happens in September of each year, draws patrons from all across the country. It sells well, too, thanks to the group behind it. Organized by the Grand Canyon Association, the event is a fundraiser with the goal of building an art museum on the Canyon's South Rim.* It's a very worthy cause, and I am honored that the GCA thinks that having me and my work will help.

Fundraising for a cause like this is one good reason to participate in a festival, but there are others. Professionally, participating puts more money in my bank account and gives me some great news for my marketing campaign. Plus, I always seem to pick up several new students and patrons, either while painting in the field or at the opening reception of the gallery show. I always come away a winner.

I have personal reasons for participating, too. The festival is an opportunity to reconnect with some old painting friends, to make some new ones and to paint in a beautiful place. What's more, a very positive energy blossoms that really helps the painting. There's nothing like it, really.

"Glorious Evening" 12x24 oil/panel - SOLD
by Michael Chesley Johnson
Studio Painting for the 2012 Grand Canyon "Celebration of Art"

This will be my fourth time invited but only my third time participating. I received an invitation for the 2013 event, but I had already made commitments to do a painting retreat in Nova Scotia, Canada, that same week. As much as I enjoyed the retreat, I felt the "call of the Canyon" the whole time I was following my painting friends on Facebook. I am very glad to be going back.

It's fun to find new events in new areas, too. This past summer, I was invited to the Castine Plein Air Festival in Maine, which was a blast. Next sumer, in June 24-29, 2014, I will be participating in "Paint it Beautiful," the first plein air festival in Montague, Prince Edward Island, Canada. I've not been to PEI before, and I'm really looking forward to it!

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*I've had a personal tour of Grand Canyon National Park's art collection, which consists not only of works from important historical artists such as Thomas Moran and Gunnar Widforss but also of donations from artists in the artist-in-residence program. The works are stored on sliding racks in a warehouse. They really need space to breathe, and a museum would allow them to be shown in their full glory.

Wednesday, November 27, 2013

Paint While the Fire's Hot

Quiet Bend - 992
16x20 oil/canvas

Somewhere recently I read that, after returning to the studio from the field, it's best to make use of those plein air sketches sooner than later.  The enthusiasm you had in the field is, at best, a tender plant, and wilts easily.  Rather than waiting for the stars to align favorably, it's best to get started while the moment is still fresh in your mind.

I've got plenty of sketches sitting in boxes that I've never done anything with.  Recently, I came back from a painting trip to the "Arizona Strip," and in addition to urging from friends, I had a hankering to take the sketches and do something larger.  Last week, I had the opportunity.  At the top of the post is the finished 16x20 oil on canvas, and below are my two 9x12 field sketches.  The painting is of the bend in the Colorado River at Lees Ferry, but I call it "Quiet Bend" - and it was a very quiet day when I stood gazing down upon it.

I enjoyed working on this piece.  For me, who loves being outdoors painting, it's sometimes hard to lock myself in the studio to work.  I have to make things interesting.  This time, I needed the right beverage (lately, Russian Caravan tea), the right music (I rediscovered my Twin Peaks CD), the right incense (Satya "Super Hit" by Shrinivas Sugandhalaya) and, above all, the right approach - the painting knife.  I used a big knife on the studio piece, and that was exciting.

Lees Ferry I, 9x12 oil/panel - 993

Lees Ferry II, 9x12, oil/linen panel - 994
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Take a plein air painting workshop with me this winter in Sedona, Arizona!  www.PaintSedona.com

Monday, November 25, 2013

Presentation: "The Fine Art of Pastel"


Last night, I spoke as one of three Master Signature members of SAGA (Sedona Area Guild of Artists) to a standing-room-only crowd.  The event, one of several scheduled in conjunction with SAGA's fall members' show, was a great success.  We got lots of questions and interest from the public about what it is we do as artists.

Although I have three oil paintings in the show, which continues until December 5, I was asked to speak about pastels.  The pastel medium, as some of you know, was my re-introduction to the world of painting.  I'd left painting for awhile to pursue other interests (like putting food on the table), but a one-day pastel workshop re-ignited my passion.  It got me not only painting again, but opened me up to a medium I'd not used before, one that is wonderfully tactile and immediate.  During the presentation, I educated the audience on how pastel is different from chalk and what a permanent medium it is.  It is worthy of hanging in any gallery or museum, right up there with paintings made in oil.

Encaustic artist John Warren Oakes and sculptor John Soderberg also spoke.  Oakes talked about encaustic fundamentals and the ease with which an encaustic can be made, and he followed up with a demonstration.  Soderberg talked about his sculptures, and about the vision and the ingenuity behind their creation.  Both artists showed beautiful examples of finished works.

I've had a request to make available my PowerPoint slides from the presentation.   Although viewing the slideshow won't give you the full sense of my charming personality, you'll at least get a good idea of the subject.  The slides are, I think, self-explanatory.  Click here for the slides.


The Fine Art of Pastel
Click Here for the Slides

As I  mentioned, the "SAGA: Visions of Fine Art" exhibition continues through December 5 at Old Marketplace Plaza in West Sedona.  For full details, please visit this link to the SAGA event page.


Have a great Thanksgiving!


Friday, November 22, 2013

The Art of the Critique of Art

Sycamore Shadows 9x12 oil
Available at the Holiday Clearance Extravaganza

A student this week praised me for my mild, helpful criticism of her paintings.  "You're very gentle, and it's nice to have someone who doesn't just tear you down."  She has been to several art schools and has suffered at the hands of many, less gentle teachers.  Her words got us to talking about how teachers go about critiquing work.

My personal method is, praise first where praise is due, and then offer suggestions for improvement or for new directions.  I also gear my praise and suggestions to what the student seems to require; some souls are gentler and are just happy to have created something, but others are thicker-skinned and want more aggressive criticism.  If a student asks for a no-holds-barred critique, I will gladly give it.

Sometimes, when a student seems particularly down on her work, I will say, "Tell me one thing you do like about the painting."  Almost always, she can come up with something!  Then I say, "Now tell me one thing you don't like."  These two points give us something to work with.

Once in a blue moon, I get the sad student who can't even find one good thing.  With that student, I let her know that the fact she actually set brush to canvas is a good thing. It's the first step.  And of course, from that first step, the possibilities are rich.  (You can experience my critiques yourself by taking one of my Paint Sedona plein air workshops this winter.)

While I've got your attention, I want to mention a couple of things.  First, as a reminder, I will be one of three Master Signature artists from SAGA (Sedona Area Guild of Artists) speaking on Sunday, November 24, from 3-5 pm in conjunction with the SAGA: Visions of Fine Art show at the Old Marketplace Plaza in Sedona.  I am buffing up my PowerPoint skills for a nice presentation.  I'll be talking about the tools and trade of the pastel painter.  Fellow artists John Warren Oakes will be speaking on encaustics and John Soderberg, on sculpture.  For all the details, please visit this link.

Also, a visit to the dentist shows I need a crown plus a little periodontal work.  Who has dental insurance these days?  I pay out of pocket, and this work will be a not insignificant percentage of this year's income.  If you'd like to help this successful but still somewhat needy artist, please pay a visit to my Holiday Clearance Extravaganza.  But who really cares about my dental problems?  You'll get good prices and good work.  Treat yourself, or help out Santa.

Sunday, November 17, 2013

3 Masters Speak - and Holiday Clearance Still Going On!

Desert View Tree, 9x12, oil/panel
Painted at the 2012 Grand Canyon Celebration of Art Plein Air Painting Invitational
Available at my Holiday and Studio Clearance!

We had a great turnout last night at the opening reception for the SAGA: Visions of Fine Art exhibition, which features work of 27 artists from the Sedona Area Guild of Artists.  Next Sunday, we'll have another event in the SAGA show schedule - "3 Masters Speak."  I'm part of a panel of three Master Signature members who will be making a presentation on our craft.  The other two artists are John Soderberg, sculptor, and John Warren Oakes, encaustic and acrylic artist.  I'll be speaking specifically on pastel painting.

The discussion runs from 3 to 5 pm, Sunday, November 24th, at the Old Marketplace Plaza at 1370 West SR 89A in Sedona, Arizona.  For details, visit this link.  I hope you'll join us!  I'll answer any and all questions about pastel painting!

I want to remind you that you don't have to drive down to the mall with the other lemmings to get your Christmas gifts.  You can shop at home!  And if you're looking for a piece of fine art, I've several I have pulled out of the studio that I think would might great gifts.  These are priced for today's economy.  I'd be delighted to have one of these pieces in your home - or in the home of a relative or friend!  You can see the paintings here.



Thursday, November 14, 2013

Upcoming Exhibition: Sedona Area Guild of Artists

I am pleased to be part of the upcoming exhibition, as a Master Signature Member, of the Sedona Area Guild of Artists.  If you're in the area, please join us for the reception and for my presentation!  Details are in the press release below.



Three Master Artists Speak About Their Art, Their Process

Michael Chesley Johnson, an award winning plein air landscape painter noted for his expressive use of color, John Warren Oakes, one of nine Master Signature Artists and a charter member of the Sedona Area Guild of Artists (SAGA) who specializes in encaustic painting, and John M. Soderberg, renowned Sedona bronze sculptor, will be featured at a public event at the SAGA: Visions of Fine Art Show on Sunday, November 24, from 3 – 5 p.m. This event will take place in the show space located in the Old Marketplace at 1370 West SR 89A in Sedona directly behind the Merlin statue, and adjacent to the courtyard. The SAGA: Visions of Fine Art Show which opened on Friday, November 15, will run through Thursday, December 5. Show hours are Tuesday – Thursday, 12 – 5 pm, Friday and Saturday, 12 – 8 pm, and Sunday from 12 – 5 p.m. (Closed Mondays and Thanksgiving Day)

You won’t want to miss this event, where three of SAGA’s Master Signature Artists offer a wealth of knowledge about their art and their process by talking about it and demonstrating how they do their work. Michael Chesley Johnson’s ability to talk about the act of painting in easy-to-understand terms has made him a popular teacher and writer. He gives workshops across the U.S. and in Canada to all levels of students, from beginner to professional. Johnson also serves as Contributing Editor for The Artist’s Magazine, writes regularly for The Pastel Journal, and has authored several books, including one titled, Backpacker Painting: Outdoors with Oil & Pastel.

John Warren Oakes, Emeritus Professor of Art at Western Kentucky University, and Art Director for Ethereal Publications, also served twenty years as Director of a university art gallery until he retired to Sedona. Oakes taught art at the university level for forty-six years, has his art work in public and private collections in twenty-eight states and eighteen nations, and is the current President of the Sedona Art Museum. Oakes has studied photography and painting, and is a member of many arts organizations, including the International Encaustic Artists, the Encaustic Art Institute, and the Encaustic Artists International.

As a child, John M. Soderberg traveled the world with his family who encouraged him in the fine arts at a very early age. Following his arrival in America as a young adult, and a stint in the Marines, Soderberg felt a drive to work big, and moved to Flagstaff with his wife and two baby daughters, where he worked in a small bronze foundry for four years to learn the art of bronze. Throughout his forty year career as a bronze sculptor, Soderberg has completed monumental bronze commissions for private parties, corporations, churches, and organizations across the country. He has sculpted numerous influential figures including Christ, Steve Biko, Moses, Al Stein, Merlin, Billy Graham, Norman Vincent Peale, Mark Honeywell, Bill and Vieve Gore, Robert Schuller, Jim Wilden, Archbishop Fulton Sheen, St. Catherine of Siena, Gil Gillenwater, and others. Soderberg currently lives and works on a small homestead ranch in Camp Verde. His passion is Bronze, and his fascination is the lonely, timeless, and ultimately noble drama of the human experience. He sculpturally explores worthy human themes in a manner which simply and honestly evokes empathy in the viewer.

In addition to this outstanding opportunity to meet and hear three masters tell their story, SAGA will also be holding events for its members and their guests during the SAGA: Visions of Fine Art Show. Jerry Buley, Ph.D., ASU Emeritus Professor from the Hugh Downs School of Human Communication, and Founding Past President of SAGA, will facilitate a Storytelling Workshop for SAGA members. Master Signature Artist and teacher, Joella Jean Mahoney, will hold a very special salon for members and invited artist friends called, The Art Process, which promises to be a delightful time of learning through group interaction.

For a complete Schedule of Events, see the SAGA website at sedonaSAGA.com. Click on SAGA Events at the top of the page, or find us on Facebook at https://www.facebook.com/SedonaSAGA. For more information about the Sedona Area Guild of Artists, call 928-284-9526, or email sharronvporter@gmail.com.

Monday, November 11, 2013

Road Trip: Painting the Arizona Strip

Vermillion Cliffs cast a shadow on Echo Cliffs at sunset

No, we're not talking about comic strips here.  The "Arizona Strip" is that part of Arizona that lies north of the Colorado River and the Utah border.  It's sort of a no-man's land, a stark but beautiful landscape.  I had the opportunity this past week to spend several days painting the Arizona Strip with my friend M.L. Coleman.  We traveled about 500 miles in his 22-foot Lazy Daze RV to visit such places as the North Rim of Grand Canyon National Park, Vermillion Cliffs National Monument, Marble Canyon and Lees Ferry.

Near Lees Ferry

A break in an oil coolant line in the RV and problems with getting replacement parts delayed our departure until Tuesday.  That was just as well, since a small weather front moved through on Monday, dropping snow in the high country.  Tuesday morning dawned cool and clear in Sedona, so we headed up toward Page.  Getting to Page,  however, was out of the question because of the monumental "slump" in the road bed of Route 89.  This happened over a year ago, and it still has engineers scratching their heads over how to fix it.  This was not a problem for us, though, since we weren't trying to get to Page.  To reach the Strip, you head west on 89A a few miles before Page.  I bring up the "slump" to show you how the strange geology in northern Arizona can puzzle even the experts.  This geology is what painters go to the Strip to paint.

After a four-hour drive, we ended up near Lees Ferry, which marks the one place in Arizona where you can easily cross the Colorado river via boat.  Lees Ferry, as a historic site, is administered by the National Park Service.  Here's what the NPS web site has to say:
Lees Ferry is the only place within Glen Canyon where visitors can drive to the Colorado River in over 700 miles of Canyon Country, right up to the first "rapid" in the Grand Canyon. A natural corridor between Utah and Arizona, Lees Ferry figured prominently in the exploration and settlement of Northern Arizona. Lees Ferry is now a meeting of the old and the new.
Lees Ferry sits hunkered down beneath the Vermillion Cliffs.  The Cliffs are about 1500+ feet high and yes, the name is accurate.  Even at high noon, when color is usually washed-out, they glow a stunning vermillion hue.  In the evening, as the sun drops in the west and the shadows grow, they become breathtaking.  We arrived at the campground in time to do a quick painting before sunset.

Camping at Lees Ferry

Surprisingly, the campground was mostly empty.  I imagine it must get busy sometime, since it had not one but two campground hosts.  Save for a couple of generators running - they both stopped by 8:30 - it proved a quiet place to spend the night.  It was the only night we spent in a campground; other nights, we "boondocked," as RVers call it, finding a quiet spot off the road.  The Strip is mostly either National Forest or BLM (Bureau of Land Management) land, and you can camp anywhere but in the Vermillion Cliffs Wilderness, which is off-limits to internal combustion engines.  If you want a superbly quiet night with plenty of stars but without smokey campfires and noisy generators, this is how to get a great camping experience.

After painting, we had dinner.   All our meals were simple.  M.L.'s wife had roasted a chicken and made some soup that we brought with us; otherwise, M.L. cooked steak (beef and pork) and always made a small salad.  For lunches, I'd brought some bagels and peanut butter; M.L. shared his carrot and celery sticks with me, and always gave me a thumb-sized chunk of Dove chocolate for dessert.  Breakfasts were a scramble of eggs, veggies and some sort of meat.  As a swap for his cooking, I was in charge of washing dishes.  Doing any kind of food prep, dish washing - and also personal bathing - in an RV requires careful monitoring of quantities.  We had about 40 gallons of fresh water in the tank, and I had no idea how capacious the grey water tank was.  But a gauge showing levels of fresh water, grey water, sewage, propane and battery power was very useful in helping us trim our usage of resources.   (I should mention that we returned home with about a third of our fresh water and our propane unused.  M.L. says he can usually go about five days in the RV without dumping grey water or sewage.)

Pulled over for a quick one (no, it's  not a scene from 'Breaking Bad')

That night, the temperature plummeted.  It was our coldest night.  When I woke just before dawn to get the coffee perking, it was 31 degrees inside the RV and, I think, 28 degrees outside.  I'd brought an old Coleman sleeping bag, which was totally inadequate, as well as a down "mummy" bag.  But rather than use the mummy bag, which though warm can be rather confining, I chose the Coleman.  I had a cold "skunk stripe" down my back all night where I had failed to zip up the bag.  For the rest of the adventure, I used an old National Park Service sleeping bag that M.L. had brought.  (He once worked for the Park Service.)  I don't know what the bag is made of, but I stayed toasty warm no matter how cold it got.  (We left the heat off at night, turning it on only when we got up in the morning.)

Wednesday, we headed out of the campground toward the North Rim.  I'd never been to the North Rim and was excited to be heading that way.  But first, we did a quick painting on the road somewhere beneath the Vermillion Cliffs.  After that, our first stop was Jacob Lake to fill up on fuel.

Lodge at the North Rim

Jacob Lake sits at just a hair below 8000 feet.  It was noticeably colder, and the price of gas noticeably higher.  It was another 43 miles from Jacob Lake to the North Rim, and we were averaging 10 miles per gallon.  A big sign flashed, "North Rim Open - No Services."  So, filling up made sense.  And the sign was right - no services were open at the North Rim, but the Park itself was.  But only barely.  We were disappointed to learn that the roads to Point Imperial and Cape Royal were closed.  The only road open was the main one to the lodge.

North Rim view, looking to South Rim

The North Rim sits about a thousand feet higher than the South Rim, and it gets considerably more snow.  Because of this, it closes on October 15th each year, but remains open for day use until snow closes Route 67 from Jacob Lake.  Since the snow from Monday's storm had pretty much vanished, we imagined the park roads that led to interesting painting spots would be open.  Not so.  We talked to a Ranger, and even though the recent US government shutdown had re-opened the park, it was too late to re-staff the Park.  So, since there was no one left to patrol the roads and help visitors who might need assistance, the roads were closed.  Worse yet, the lodge itself was being re-roofed and was cordoned off by yards of yellow tape, which also prevented access to other trails along the rim.

Despite all that, we were able to do a nice hike out to Bright Angel Point and to paint a little.  The North Rim affords different vistas than the South.  Rather than being perched on a sheer cliff looking straight out and down, you are on cliffs and shoulders that project out into the canyon with gentler slopes below.  You're also a lot closer to many of the buttes and features you see from the South Rim; M.L. told me that, at Cape Royal, you could almost reach out and touch Wotan's Throne.

My North Rim painting, in process

Photo by M.L. Coleman

Here's a short video panorama I shot from the rim:

video


The North Rim campground was, of course, closed, so we headed out to find a spot in the adjacent National Forest where we might camp.  One of the Rangers helpfully told us about a Forest Road that would take us out along the Marble Canyon rim, if we wanted to go that far.  Since the sun was setting fast, we didn't.  Instead, we ended up about four miles up a gravel road that took us to a trailhead for the Arizona Trail, right next to the Saddle Mountain Wilderness.  It was a beautiful, quiet spot, with only one other camper.  (They were from Holland and had spent the last 14 months driving up from Cape Horn, but that's a different blog post.)

View from East Rim, down toward North Canyon

It was another cold night - this time we were lodging at 9000 feet - but Thursday morning dawned clear, and the sun warmed things up nicely.   We painted in the sun along what's called the East Rim, overlooking North Canyon.  We had a fine view of Marble Canyon, the smokestacks of the Page power generating station and Navajo Mountain in the distance.  I even hiked down the Arizona Trail a bit to stretch my legs.

I should mention the difficulty of painting with cold oil paint.  My white, especially, resembled putty more than paint.  The old-time outdoor painters used to add kerosene to the paint to loosen it up in the cold.  I didn't have any kerosene available, so I added a little Archival Lean Medium to it, which helped.  Positioning my palette so the sun hit it helped, too.  If I'd been smart, I would have put my tube of white paint in the drawer over the RV's heater vent.  I already had my toothpaste and sunblock in there so they would be warmed up by the heater.

Afternoon came with a few clouds, and we decided to paint a few aspens in the hazy light.  It's almost as if we were painting according to a checklist of Arizona scenery .  Tall cliffs and shadows, check.  North Rim of the Grand Canyon, check.  Aspens, check.  We would move on to include arroyos (check), chamisa (check) and water (check.)

Evening light on the Vermillion Cliffs

That evening, we drove back through Jacob Lake and then down to a lower elevation of 5000 feet or so to find a place to boondock along Route 89A.  Because of the imminent sunset, we didn't have time to research a location as much as we might have liked, so we ended up about 50 feet off the highway.  Fortunately, 89A traffic petered off after sunset.  The following morning, I took a short walk along a fence line and discovered an official BLM parking lot and trailhead to Soap Creek just a couple of hundred yards from where we had camped.  Even so, we had a beautiful sunset with the the Vermillion Cliffs to the north and the Echo Cliffs to the east all lit up with red fire.  A crescent moon was also beginning to show.

Friday morning we went in search of more cliffs with shadows and arroyos with chamisa.  The arroyos required a little driving back and forth to find suitable pull-offs and arroyo walls that ran north-south to give us good afternoon shadows.   (In the desert southwest, shadows make all the difference between a good painting and a lousy painting with flat lighting.)  I'd always wanted to paint chamisa in raking sunlight in an arroyo.

Tracks

By the way, for most of my paintings, I stuck with a 9x12 size, mostly because of RV storage space and the lack of a suitable wet canvas carrier for anything larger.  I did bring several 5x7s and used my Art Cocoons to hold those.  M.L., on the other hand, went larger - 12x16 and beyond - and the RV has some built-in cabinets to hold his paintings.  The last couple of days, he dragged out his Take-It-Easel and went even larger - 16x20.   He paints almost exclusively with a couple of large knives, so it doesn't take him much longer to paint one of those than it does me a 9x12.

M.L. Coleman painting Lees Ferry

Saturday, our last full day of painting, we went to Lees Ferry.  From a short hill just before the boat launch, we had a fine view of the bend in the Colorado River by the boat launch.  There were even some golden cottonwoods by the water (check).  The cliff on the far side of the river stayed in shadow a long time, giving me time to paint two pieces.  I borrowed one of M.L.'s knives to paint the first one.

My borrowed knife and Lees Ferry painting, in process

What did we do in the evening?  We had to finish painting by 4:30 in order to get a campsite by dark, and we didn't eat dinner usually until about 8.  We always spent a little time outside at sunset to take photographs and to marvel at the color of a clear November evening in Arizona.  After that, we'd talk about art business and maybe even gossip a little.  After dinner, I went to bed with my Kindle to read, although I didn't last long before sinking into sleep.  I'd brought along a couple of art-related magazines, but there wasn't much time for any of that.

Crescent moon over the desert

After a final night of boondocking, we had breakfast and headed south.  We stopped for one last painting in Cedar Ridge.  This was in Navajo country, on the reservation.  As we were finishing up, we had two sets of visitors.  The first was an elderly Navajo couple who arrived in a recently-washed, white pickup.  They were dressed in their Sunday finest, he with a brightly-polished silver belt buckle.  "That is our house," the woman said, pointing into the scene that M.L. was painting.  They admired our work and said mine looked just like a photograph.  That is, of course, the last thing I want my paintings to look like, but I knew that it was meant as the highest form of praise, so I thanked them.  The second set were from China, puzzled by the fact that they couldn't get to Page and that their smartphone wanted to them to take for a detour the dirt road leading into the Navajo settlement behind us.  We weren't sure how to get to Page, either, so we sent them down to the gas station in Gap for directions.

At the very end, M.L. didn't know what to do with the 12x16 he'd just finished.  He'd run out of storage room.  So, into the oven it went.  Helpful Hint from Heloise:  In a pinch, your RV oven can make a nifty wet canvas carrier!  I hope he remembered to take it out.

This kind of trip with another artist is a rare treat, filled with camaraderie and a lifting of spirit.  I got several good paintings out of it, but I got a lot more than that, too.

Below are a selection of the paintings I did on the trip.  These are all 9x12 (or 12x9, depending on orientation.)  Some are on panel, others on linen.  The ones on linen are from Plein Air Panels; it was my first time using them, and I have to say, they are beautifully made.  I don't usually like working on a cloth surface, but these are made with Claessen's #66 Belgian Linen, and they are superb.   I will probably put these paintings up for sale in the near future when I have photographed them properly and finished them off.  As they say, watch this space for details!  (In the meantime, please check out my continuing holiday sale for some great deals.)

East Rim Aspens, 9x12 oil/panel

Ledge, 9x12, oil/linen

Shoulders, 9x12, oil/linen

From the North Rim, 12x9, oil/linen

Vermillion Cliffs, 9x12, oil/panel

From Lees Ferry, 9x12, oil/panel

Towers, 9x12, oil/linen

From the East Rim, 9x12, oil/panel

Lees Ferry I, 9x12, oil/linen

Lees Ferry, 9x12, oil/panel

At Cedar Ridge, 9x12, oil/linen

Chamisa, 9x12, oil/linen

Everything!

Monday, November 4, 2013

Annual Fall Studio Cleanup and Holiday Sale!

Spring Creek Rush, 12x9 oil
In the holiday sale!


It's that time of year again - I made too many paintings last year, and now I'm running out of space in the studio.  I've pulled out a selection of 21 oils and pastels, some 9x12s of which would go for $750 in the gallery, and have put a good price on them.  I think you'll find some great deals for the holidays!

You can get to the Annual Fall Studio Cleanup and Holiday Spectacular Extravaganza and Sale by clicking this link.

Also, in case you don't get my newsletter, I'd be delighted for you to sign up!  You can see the most recent newsletter and sign up for future ones here.


Saturday, November 2, 2013

Adjusting One's Color Sensibility

Sycamore Warmth 12x9, oil

People ask me, Do you find it difficult getting back into painting the Southwest after having been painting in the Maritimes all summer?  I do!  This morning I hiked up into Fay Canyon with a friend to paint some of Sedona's red rocks, and I am not at all satisfied with my attempt.  I've been back in Sedona for a week now, and I am struggling to get my "red rock painting skills" up to snuff.  I was pretty happy with the work I was doing last time I was here.  So what's the problem?

I work mostly from life, so I am constantly practicing my skills of observation and color mixing.  Why then is it difficult going from the greens and blues of the Maritimes to the reds and oranges of the Southwest?  Doesn't it just come down to observing closely and mixing accurately?  One would think so.  But I believe it takes time to adjust one's color sensibility to an area that is radically different, no matter how familiar you might have been with it previously.

I know from talking with them that it's this way for many painters who participate in plein air painting events and for workshop instructors who travel.   Like them, I prefer to get to a new location (or a familiar location that I've been away from) a few days in advance so I can get a few paintings under my belt.  If not that, I want to spend some time walking around and making mental notes and going through the motions of color-mixing in my head.

Above is a sycamore study I painted this week that, unlike my red rock painting today, I am happy with.