Plein Air Painters of New Mexico Exhibition

 I'm happy to announce that two of my paintings, "Path to the Shed" and "Near Los Gigantes," are in the annual Plein Air Painters of New Mexico Juried Member's Exhibition.  You can see these two 9x12 oil paintings in the postet above, and also below.

The exhibit runs from November 7 - 29, 2020 at the Wilder Nightingale Fine Art Gallery in Taos, New Mexico.  Although the opening reception has been cancelled due to the pandemic, the awards ceremony will be held via Zoom.  For details, visit www.papnm.org.  TO PURCHASE THE PAINTINGS, visit www.wnightingale.com.

Near Los Gigantes, 9x12 Oil

Path to the Shed, 9x12 Oil

Preparing for a Demonstration

As you may know, I will be one of the invited guest artists and demonstrators for the 2020 Plein Air Convention & Expo in Denver this May.  As they say, this isn't my first rodeo—so I will be preparing for my demonstration, as I always do.

How do I prepare?  First, by figuring out what aspect of plein air painting I want to demonstrate.  Second, by choosing appropriate subject matter.  Third, by practicing my demonstration beforehand.  And finally, by making a checklist of things I need to take.

Figuring out what I want to say isn't too difficult.  Having been teaching plein air painting workshops for nearly 20 years now, I have a fairly clear idea of what information would be most helpful to people.

Choosing subject matter is a little more difficult.  Even though I'll be up on stage with TV cameras showing the audience close-ups, I want the painting to have good contrast, simple shapes and maybe even a little drama.  The subject also needs to allow me to demonstrate what it is I want to show.

In some ways, the most important part is the practice session.  When I went to Cincinnati several years ago to shoot my three instructional videos for Artists Network, you can bet I didn't show up cold.  I had practiced until I felt the demonstration would go smoothly.  I don't want to stumble because halfway through I've realized the composition doesn't work or my color choices are wrong.  Plus, I want to practice what magicians call “patter”—what I'll be saying as I paint.

The checklist is important, too.  I don't want to forget some small but essential item for the demonstration.  But I'll also have on my checklist promotional items such as business cards.  A person might not forget me so readily with a business card in his hand.  After all, there will be over 80 invited guest artists demonstrating!

If you have been asked to give a demonstration to your painting group or art society, I think having a plan like this—a plan that includes practice—a good one.

Judging a Show: Pastel Society of New Mexico National Exhibition

Part of the exhibition at Sorrel Sky, before the judging.
You can see how the organizers have covered up signatures and wall labels
to keep the judge "blind."

I always love going to Santa Fe—good art, good vibes, good food—but this time was extra special.  This past week I spent a couple of days in "The City Different" serving as Judge of Awards for the Pastel Society of New Mexico's annual National Exhibition.  I enjoyed spending some real "quality time" with over a hundred pastel paintings.  Nowhere in town could I see so many pastels in one place.

The exhibition, which runs through March 31, occupies the entire second floor of Sorrel Sky Gallery on Palace Avenue, a very short walk from the plaza.  The paintings range from landscapes to portraits and figures to still life and abstracts, and the quality of the work is very high.  (Jurors were Alan Flattman, Brian Cobble and Sally Strand, and they did a great job in selecting.)  Conditions for judging were ideal, as all the paintings are hung under excellent lighting.  Still, I had a very tough time narrowing down the 133 paintings to just 22 winners—and an even tougher time picking the top four for the major awards.  Everyone who made it into the show should feel proud.  I congratulate the winners on their success.

I've written before about how I judge a show, but I'll summarize it again.  Armed with a stack of yellow Post-It notes, I go through the gallery quickly, putting a note next to every painting that appeals to me.  This is my first pass, and I'm looking for work that strikes me immediately in some way.  I'm not thinking of design, color or mark-making at this point but visual and emotional impact.  Then I go through the gallery again, looking more carefully at the ones I skipped.  Did I miss a quiet, shy piece that appeals to me if I look longer?  If so, I give it a Post-It note.  Then I go through yet again, looking at everything—noted or not—with an eye to design, color and mark-making.  Next, I count the number of Post-It notes and compare that to the number of awards.  The difference is what I have to remove.  So, I go through several more times, re-evaluating my choices and removing—or, in some cases, moving—the notes until I have the same number of notes on the wall as I have awards.  Now the painful part begins, and I have to decide on the top awards.  This involves double-checking my work (thinking again of design, color, mark-making plus emotional appeal and how well the artist conveyed the message) until I've made my selections.  Believe me, although the process sounds logical and simple, it's a lot of work, and sometimes I wish I'd worn roller skates to make the going back-and-forth easier!  I go through these multiple passes to make sure I've made my selections with honesty and integrity.

The Society has invited me to do a demonstration for them at their monthly meeting next Saturday (March 9, 10 a.m. at the Albuquerque Museum.)  I'm looking forward to showing how I paint "glare" on water with Blue Earth Pastels.  If you can't make it to the meeting, at least try to see the show in Santa Fe.  You won't be sorry.

Me at Sorrel Sky in front of my painting.
Judge and jurors were asked to bring a sample pastel
painting to hang.

After the Opening

Hot Summer 9x12 Oil - Available
My painting from the pre-exhibition paintout
by Michael Chesley Johnson

My local painting group, Plein Air Painters of the Bay of Fundy, opened its annual exhibition on Friday evening in St Andrews, New Brunswick.  We arrived a day early so I could help with the hanging—we had had over 70 pieces!—and also to do a little publicity.  Trina had the brilliant idea of Instagramming several photos of the show announcement against interesting backgrounds.  We spent a hot hour or so at Kingbrae Gardens, and here is a collage of this effort:

I can't recall a hotter time in St Andrews.  Temperatures hit 86, but with humidity also in the 80s and absolutely no breeze, it felt like 100.  (You can calculate this for yourself with this handy tool.) Fortunately, the recent renovations at Sunbury Shores Arts & Nature Centre, where the paintings are being shown, included air-conditioning.  Time was when no one had air-conditioning in the Canadian Maritimes, but now it is fast becoming a necessity.  We would have spent all morning at the gardens, but the heat, especially when the sun popped out of the mist, sent us indoors.  I gladly spent a few hours with measuring tape, pencil and hammer hanging paintings.

My paintings at the show

Friday was a bit drier yet still tropical.  But during lunch at the Niger Reef Teahouse, we spotted a shady lawn just outside the restaurant with a view—perfect for the paintout we'd planned for the afternoon.  A little breeze arrived, too.  But after an hour of painting, the heat got to me again, so we retreated to our host's home where we had showers and a/c.

Me at the paintout

My setup

Simone Ritter bikes to her painting locations

The opening was well-attended, and I enjoyed speaking with everyone.  We saw many red dots go up, too.  That's always encouraging on opening night.

The show runs through Saturday, August 25, 2018, at Sunbury Shores Arts & Nature Centre, 139 Water Street, St Andrews, NB. (Closed on Sundays.)  For more on our group, visit www.PleinAirFundy.org or visit our Facebook page at www.facebook.com/pleinairfundy/.

Here I give introductory remarks

Annual Exhibition - Plein Air Painters of the Bay of Fundy

Sugarloaf Rock, High Tide 16x20 oil by Michael Chesley Johnson

Every year about this time, my "local" painting group, the Plein Air Painters of the Bay of Fundy, has a paintout and exhibition.  I put the word "local" in parentheses, because we actually range over a wide area, with members in Maine, New Brunswick and Nova Scotia.  So, getting together and having an annual exhibition is a big deal for us.  Each year, we alternate locations between the US and Canada.  This makes our 12th year!

This year's exhibition is at Sunbury Shores Arts & Nature Centre in St Andrews, New Brunswick, Canada, at 139 Water Street.  It runs from August 3-25, 2018.  Ten of our charter members will be exhibiting with over 70 paintings.  It'll be quite a show.

Our opening reception is Friday, August 3, from 5-7 pm Atlantic Time.  I do hope you'll join us.

Here are the paintings I'll have in the exhibition.  They are all, of course, available for sale.

Apple Tree Dance 16x20 Oil by Michael Chesley Johnson

Castine Bay 12x16  Oil by Michael Chesley Johnson

Fog Lifting, Dead Spruce 16x20  Oil by Michael Chesley Johnson

Islands 6x8  Oil by Michael Chesley Johnson

Low Tide at Cranberry Point 12x24  Oil by Michael Chesley Johnson

Lazy Light 11x14  Oil by Michael Chesley Johnson

Ready to Sail 12x9  Oil by Michael Chesley Johnson

Rocky Point 9x12  Oil by Michael Chesley Johnson

Upcoming Exhibition: Plein Air Painters of the Bay of Fundy

Low Tide, Cranberry Point 12x24 Oil by Michael Chesley Johnson
Available

Later this summer, Plein Air Painters of the Bay of Fundy, a group of outdoor painters I organized over ten years ago, will be having its annual summer exhibition and sale.  Since our members are spread across the maritime area of two countries, the US and Canada, we try to alternate exhibits between the two.  This year, the exhibit and sale will be in Canada.

Rocky Point 9x12 Oil by Michael Chesley Johnson
Available

I look forward to this show every year.  We always have a paintout.  This year, it'll be in the historic seaside resort town of St Andrews, New Brunswick.  I also enjoy seeing my painting friends again.  But perhaps best of all, the artwork displayed is superb!  I've included in this post

some of my paintings that are possibilities for the show this year.

Apple Tree Dance 16x20 Oil by Michael Chesley Johnson
Available

Exhibiting members this year include:  

Anne Johnston
Bruce Newman
Caren-Marie Michel
David Reeves
Helen Shideler
Matt Watkins
Michael Chesley Johnson
Poppy Balser
Theresa MacKnight 
Simone Ritter

Details on the exhibit:

Opening Reception: Friday, August 3, 5-7 pm Atlantic Time

Exhibition Dates: August 3-25, 2018 

at

Sunbury Shores Arts & Nature Centre

139 Water Street, St. Andrews NB  E5B 1A7

Phone: 506.529.3386 E-mail: info@sunburyshores.org

July/August Hours: Every day 9am-5pm

Closed Sundays & Holidays 

By the way, if you'd like me to share my techniques for creating paintings like this, and you are an experienced outdoor painter, please consider my workshop for experienced painters, August 28-31, 2018.  I have full details at www.PleinAirPaintingMaine.com

Castine Bay 12x16 Oil by Michael Chesley Johnson
Available

Fog Lifting, Dead Spruce 16x20 Oil by Michael Chesley Johnson
Available

Islands 6x8 Oil by Michael Chesley Johnson
Available

Lazy Light 11x14 Oil by Michael Chesley Johnson
Available

Ready to Sail 12x0 Oil by Michael Chesley Johnson
Available

Sugar Loaf Rock, High Tide 16x20 Oil by Michael Chesley Johnson
Available

Post-Opening: Acadia Invitational III at Argosy Gallery, Bar Harbor, Maine

Posing beside my "Acadian Summer" (top) 12x24 oil

Trina and I just returned from an enjoyable weekend down in Bar Harbor, Maine.  As you may recall, this was the weekend for the opening of the Third Acadia Invitational exhibition, which was organized by Argosy Gallery.  It was a beautiful weekend with plenty of sunshine and warm weather, which is always a plus when visiting Acadia National Park, Bar Harbor or Mount Desert Island.  We got to MDI early in the day, enjoyed a hike at a Nature Conservancy site on the western, "quiet side" of the island, and then spent the afternoon in Northeast Harbor exploring and taking photographs.

The Opening

My two other paintings, "On the Edge" (left) 9x12 oil and
 "The Schooner Margaret Todd" (right) 12x16 oil

That evening, we joined 18 of the 30 invited artists plus many collectors at the Bar Harbor Inn for the opening.  Amy and Charlie Sidman of the gallery did a fantastic job in hanging the work and organizing the reception.  As the sun went down, many of us headed out to the porch to view the spectacular sunset.  The "Margaret Todd," a four-masted schooner, was coming in from its sunset cruise, and was a perfect color accent to the sunset with its red sails.

The "real" schooner Margaret Todd, on the right with red sails

A Bar Harbor sunset

Sunday, we worked our way very slowly back home, visiting Prospect Harbor, Winter Harbor and Corea, looking for photo opportunities and future painting spots.

Now the exhibition has been moved from the Bar Harbor Inn to Argosy II, the gallery's location on the town green, where you can see (and buy!) the paintings. Argosy II is located on the Bar Harbor  at 6 Mt Desert Street. For details, contact the gallery at 207-288-9226 or send email to info@argosygallery.com.

Here's a short video of the Margaret Todd slowly sailing home.  If you're receiving my blog by email and can't see the video, here is a link.

Acadia Invitational III at Argosy Gallery in Bar Harbor

"Acadian Summer"
12x24 oil by Michael Chesley Johnson
Available at Argosy Gallery as part of the Acadia Invitational Exhibition

This weekend marks the opening of the Acadia Invitational III exhibition for Argosy Gallery in 
Bar Harbor, Maine.  I'm proud to be one of thirty nationally-recognized artists participating.  Every few years, the gallery invites a select number of artists to paint in and around Acadia National Park and to then present these works in a show that runs for over a year.  You can see the three paintings I will be exhibiting in this post.

From the Argosy Gallery website:

On July 29 we will open the Third Acadia Invitational at the Bar Harbor Inn. This event, our most ambitious yet, features thirty distinguished artists, ninety fine paintings and fifteen awards, all to celebrate our region's striking and celebrated landscape. The exhibition and sale will be open to the public Saturday, the 29th, from 2-5 pm, and Sunday, the 30th, from 9 am - 6 pm. Everyone is also welcome to the Saturday evening reception; please contact the gallery for information and an invitation. After this opening weekend, the paintings will be on display at the Argosy II throughout the season.

When the first announcement of the Invitational appeared in the Nov/Dec issue of American Art Review, half a dozen artists called about entering. It certainly caught their eye. However, invitations and acceptances had been completed long before then. Participating artists, each of whom will have visited and painted in Acadia by the time of the show, come from eleven states and four countries. Twelve have been in one or both of the earlier Acadia Invitationals, eighteen will be new to this special show. We anticipate it being one of the most important landscape shows in the country this year.

The Bar Harbor Inn is located at 1 Newport Drive, Bar Harbor, Maine.  Argosy II is located on the Bar Harbor town green at 6 Mt Desert Street.  For details, contact the gallery at 207-288-9226 or send email to info@argosygallery.com.

Trina and I will be at the opening reception on Saturday night.  We hope you will be among the guests!

"At the Edge"
9x12 oil by Michael Chesley Johnson
Available at Argosy Gallery as part of the Acadia Invitational Exhibition

"The Schooner Margaret Todd"
12x16 oil by Michael Chesley Johnson
Available at Argosy Gallery as part of the Acadia Invitational Exhibition

Image Transfer to Make the Drawing Easier: The Schooner Margaret Todd

The Schooner Margaret Todd
12x16 oil
Will be Available Starting July 1, 2017 at Argosy Gallery

I like to paint boats.  I paint a lot of them at my summer studio in Downeast Maine.  They say "practice makes perfect," but where boats are concerned, practice makes only "pretty good."  I think that, no matter how excellent your drawing skills, you'll always find some part of a boat that needs correcting.  Sailors will be quick to point out the errors in what you thought was a beautifully-proportioned boat.

This past week, I wanted to paint a picture of the schooner Margaret Todd, based in Bar Harbor, Maine, for the upcoming Acadia Invitational III exhibit at Argosy Gallery this summer.  I had reference photos and a plein air sketch of this ship, which is the only four-masted schooner still in operation on the east coast.  Painting a boat properly can be time-consuming, even if you are using photos and not working from life.  To make the job easier, I decided to transfer a photo to my painting surface rather than to draw the schooner by hand.

Contrary to popular belief, we painters don't freehand everything.  Image transfer or tracing is a time-honored method used by both illustrators and "fine artists" to get a quick, accurate drawing in place.  Projection is another method, but for the size of this painting (12x16) and the scale of the boat (somewhat small), I didn't need to project. But I did want the perspective and proportions to be correct.

The scene I chose to paint was very close to what my reference photo contained.  I knew that if I placed my eye level (or horizon) line on the canvas as it was in the photo, the transfer method would work.  It most definitely will not work if you start playing with eye level placement.  Next, I needed to figure out  the scale I needed for the boat in the context of the landscape.  I made some pencil sketches to rough out the design, and then I printed out three cropped images of the schooner, each a different size.

I placed these directly on my painting surface, with the landscape lightly sketched in, to see which size worked best.  After settling on one, I coated the reverse side of the print with compressed charcoal, taking care to cover all the areas that needed to be transferred.  Then I taped the print directly to my painting surface where the boat needed to be.  With a sharp, 2B graphite pencil, I then traced over the important parts of the boat—masts and hull—until I felt like I had enough information transferred that I could successfully finish the boat without this aid.

Here's the finished painting, without the frame.

The Schooner Margaret Todd
12x16 oil
Will be Available Starting July 1, 2017 at Argosy Gallery

We'll be painting boats my Rockland, Maine, workshop for Coastal Maine Art Workshops this July.  I hope you'll join me.  You can find more details here.   If that doesn't work out for you, we'll also be painting boats at my Lubec, Maine, studio.  Visit www.PleinAirPaintingMaine.com for details.

By the way, if you take workshops, I have a short survey that I'd like you to take.  It will help guide future seasons of my plein air painting workshops.  You can get to it here:  https://www.surveymonkey.com/r/ZZB8898