Professional Documents
Culture Documents
SPECIAL SECTION:
PAINTING STILL LIFES OUTDOORS
SEPTEMBER 2014
$6.95 U.S. 8.95 CAN.
Plein Air Heritage
Edward Henry Potthast (1857-1927)
In the late 19th and early 20th centuries, Impressionist painters helped artists there at work than bathers in or out of the water,” Wessel wrote to
to stimulate international interest in plein air painting, especially his friend Edward H. Potthast.
in American vacation spots in Indiana, California, New York, and Potthast made this unfinished watercolor sketch of a fellow painter
Massachusetts. The shoreline communities on Cape Ann, Massachusetts, during one of his many visits to the beach in Gloucester. He always
became so popular with outdoor painters that in 1916 Herman H. welcomed the opportunity to escape the summer heat in New York, meet
Wessel (1878-1969) observed that there were more than 700 artists hometown friends from Cincinnati, and make sketches for his popular
working in Gloucester. “I went to Bass Rock beach, and there were more paintings of bathers on the beach.
EDITORINCHIEF
M. Stephen Doherty
msdoherty48@gmail.com • 914.610.1307
MANAGING EDITOR
Brida Connolly
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ART DIRECTOR
Kenneth Whitney
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CREATIVE DIRECTOR
Alfonso Jones
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PleinAir Today
Bob Bahr, Editor
Jeffrey Carlson, Contributing Editor
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WEBSITES
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ADVISORY BOARD
Museum & Organization Officers
Peter Adams, President, California Art Club
(www.americanlegacyfinearts.com/artists/peter-adams/)
Sandy Askey Adams, En Plein Air Group, Facebook
(www.sandyaskeyadams.com)
Antony Bridge, Pochade.Co.UK
(www.antonybridge.co.uk)
Christopher Forbes, Vice Chairman, Forbes Inc.
(www.forbes.com)
Gil Dellinger, President, Plein Air Painters of America
(www.gildellinger.com)
Lori McNee, www.FineArtTips.com
J
Bruce Weber, Sr. Curator of 19th-Century Art, National
Academy of Design (www.nationalacademy.org).
Artists:
Clyde Aspevig (www.clydeaspevig.com)
Scott L. Christensen (www.christensenstudio.com)
Donald Demers (www.donalddemers.com)
Michael Godfrey (www.michaelgodfrey.com)
Jeremy Lipking (www.lipking.com)
Kevin Macpherson (www.kevinmacpherson.com)
Joseph McGurl (www.josephmcgurl.com)
Camille Przewodek (www.przewodek.com)
Ed Terpening (www.edterpening.com)
Keith Wicks (www.keithwicks.com)
Randy Higbee (www.randyhigbeegallery.com)
TOP: After the Brunch, 12 x 9 RIGHT; Path by the Bluff, 16 x 12 LEFT: Paperweight and Pansies, 11 x 14
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Joshua Tobey
JACKSON
ACKSON SYMPHONY
Mountain Country Autumn 16 x 20, oil on canvas Summer Drama 18 x 24, oil on linen
www.triofineart.com
Jackson, Wyoming | 307-734-4444 | 307-690-8985
en plein air
America’s Great Paint-Out
5pm to 8pm
at Abend Gallery
Cliff Austin Breath of Spring oil 16x20”
ABEND GALLERY
2260 E Colfax Ave
Denver CO 80206
Gallery hours: Tues-Sat, 10am to 6pm
303-355-0950 or 800-288-3726
Kim English Plains of Colorado oil 7x12”
jennifer@artofsunshine.com
www.artofsunshine.com
303.470.5770
“Reflections in Blues,” oil, 16 x 20 in.
SUSAN MCCULLOUGH
Monte Vista, CO
marygarrish@aol.com
www.marygarrishfineart.com
321.698.4431
“Down by the River,” oil, 30 x 24 in.
mcsue12@gmail.com
www.susanmccullough.com
719.588.2261
“I Can See Estes From Here!,” oil, 12 x 16 in.
debra@debrajoygroesser.com
www.debrajoygroesser.com
402.592.6552
“Magic Hour,” oil, 10 x 20 in.
editor’s note
T
he company I worked for in the 1990s conducted research to I remembered all those discussions about style as I was writing and
determine the topics that artists would most like to read about in editing the articles for this issue of PleinAir. Several of the people I inter-
art magazines and books. Drawing always came out near the top viewed found their personal style by learning as much as they could from
of the list, along with color mixing and the techniques used by popular other artists — past and present — and sifting that information down to
artists who worked in oil, watercolor, and pastel. But one surprising the methods that might be most useful to them.
topic suggested by the respondents was style, or an identifiable look that Bob Beck (page 53) explained that he saw one gallery exhibition
distinguishes an artist’s paintings. of Russian Impressionist paintings and knew he wanted to learn how to
The editors at the company scratched their heads to determine ex- work with oil colors in a similar manner. Anne Blair Brown (page 42)
actly what information could fill a six-page article or a 144-page book on also had a strong response to paintings created with bold brushwork that
the elusive subject of personal style. We weren’t sure how to show people allowed viewers to explore their own imagination. Anne Ward (page 24)
a method to discover their own voices. Did the survey respondents want was captivated by the way Fairfield Porter incorporated the people and
to know how to paint in a historically significant style, like impression- landscape of his immediate surroundings into his paintings to add more
ism, expressionism, or photographic realism? Or were they seeking help personal content.
to develop their own unique way of painting that didn’t have obvious It’s clear there isn’t one article or book that can effectively teach art-
connections to the work of well-known painters? ists how to establish a unique form of expression. That has to come from
Our best response to that survey was to develop magazine articles a wide range of instruction and inspiration, as well as through a personal
and books on individual artists who had a distinctive style of painting journey of exploration and self-discovery. That’s something the artists
that others might want to emulate. That worked well in commissioning featured in this issue are prepared to offer.
books and articles that brought in sales and subscriptions, but the editors
always wondered if they were nurturing individual forms of expression M. STEPHEN DOHERTY
or just cloning popular artists. Were readers understanding and respond- Editor-in-Chief
ing to the core motivations behind the paintings of David A. Leffel, John msdoherty48@gmail.com
Howard Sanden, Jeanne Dobie, or Maxine Masterfield, or were they www.outdoorpainter.com
simply copying that artwork without adding something of themselves? www.facebook.com/pleinairmagazine
I
n this issue we offer a sampling of still life
paintings that artists created outdoors,
facing the same challenges — and oppor-
tunities — associated with painting any other
subject outdoors. The experience gave these
painters a different perception of values, colors,
shapes, and edges, and it required them to
make quick decisions about how to record those
perceptions on canvas or paper.
Outdoor Still Life is one of the categories
of awards in the PleinAir Salon bimonthly
competition (www.pleinairsalon.com). If you
also paint still lifes outdoors, enter your work
in the next competition and become eligible to
compete for the $21,000 in cash and merchan-
dise prizes that will be presented at the Plein Air
Convention & Expo in April 2015.
Signs of Spring
Bridget Ertelt
2014, oil, 14 x 11 in.
Collection the artist
Plein air
Studio Flowers
Jeffrey Pugh
2014, oil, 12 x 9 in.
Plein air
Utah artist Jeffrey Pugh filmed the development of this plein air
painting and posted the videos online during the “Where in the World
is...” event sponsored by Illume Gallery of Fine Art in St. Lake City, UT
(see page 77).
French Roses
Stephanie Birdsall
2014, oil, 10 x 8 in.
Courtesy Illume Gallery of Fine Art, Salt Lake City, UT
Plein air
Foxgloves
Michelle Knapper
2014, oil, 14 x 11 in.
Plein air
This painting was created during the annual plein air paint-out spon-
sored by Hudson Fine Art & Framing in Hudson, OH. At left, Knapper
shows how she used a cardboard viewfinder to compose her painting.
ANNE WARD
W
e see the world by the way it is lot of trial and error to arrive at those approxima-
revealed in light, and we know tions, and each new painting presents a challenge Anne Ward
many of the principles that help us to find the right color mixtures to convey our
select the right hue, value, and chroma of paint observations to those who view our work.
to approximate what the light reveals to us both Californian Anne Ward has been dealing
outdoors and in the studio. Still, we go through a with that challenge for years and has developed
ARTIST DATA
NAME: Anne Ward
BIRTHDATE: 1967
LOCATION: Los Angeles
INFLUENCES: “Fairfield Porter, Vuillard,
Diebenkorn, Raimonds Staprans, Wayne
Thiebault, and Nikolai Timkov.”
WEBSITE: www.anneward.com
Looking North
2013, oil, 25 x 23 in.
Collection Robin Armandpour
Plein air
artist profile
Afternoon in My Yard
2010, oil, 33 x 30 in.
Private collection
Plein air
Free
2013, oil, 16 x 16 in.
Collection Gigi Levangie Grazer
Plein air
artist profile
10am Summer
Oil, 12 x 12 in.
Collection the artist
Plein air
artist profile
August Flowers
2013, oil, 16 x 16 in.
Collection Suzanne Goin & David Lentz
Plein air
artist profile
Flowers at Sharon’s
2013, oil, 12 x 12 in.
Collection Sharon Friedman
Plein air
11pm, in My Kitchen
2009, oil, 12 x 12 in.
Collection the artist
Plein air
A
ndrew Wyeth was never comfortable Like most artists, Wyeth had a thin skin distant space. “That’s a painting of the horrible
having labels attached to any limited when it came to labels and unfavorable reviews Helga experience,” he said. And even though the
aspect of his artwork. He felt names for his exhibitions, but especially about dismiss- controversy had happened more than 30 years
like “realist,” “portraitist,” and “magic realist” ive comments from newspaper and magazine before, Wyeth put the rough waters in the left
put too much emphasis on one facet of his critics. He would not release his copyrighted foreground of his egg tempera painting.
work, and not enough on the more compli- images unless he thought a writer would be Given Wyeth’s sensitivities about labels and
cated themes that ran through his watercolors, fair and accurate. The scorching criticism of criticism, he would likely have mixed feelings
egg tempera paintings, and drawings. In all The Helga Pictures, a collection of pictures of
likelihood, he would also have been uncom- Helga Testorf that surfaced in the 1980s, left Wind From the Sea
fortable being called a “plein air painter,” him unsettled for years afterward. He once 1947, tempera on hardboard
because that might imply that his preparatory showed this writer a landscape painting in © Andrew Wyeth
drawings and paintings were just as significant which there were turbulent rapids cascading National Gallery of Art, Washington, DC
as his studio pictures. in the foreground and calm, still waters in the Gift of Charles H. Morgan
Study for Wind about the current exhibition of his work at the National
From the Sea Gallery of Art in Washington, D.C. While he would
1947, pencil on paper, appreciate having his work displayed, once again, in the
22 1/2 x 23 7/8 in. nation’s museum, he might wince at the text written by
© Andrew Wyeth the director and curators. “We hope that this exploration
The Marunuma Art Park both on the walls and in the catalogue will encourage a
Collection, Asaka, Japan much closer look at Wyeth’s work and contribute to the
reassessment of his achievement that is well underway,”
wrote Earl A. Powell III, director of the NGA.
Reassessment? The implication of Powell’s statement
is that the critics who found Wyeth’s work lacking might
change their minds if they look more closely and consider
the abstract qualities in his paintings of windows. Washing-
ton Post critic Philip Kennicott wrote in the May 23, 2014
edition of the newspaper, “The curators of the exhibition
emphasize the degree to which Wyeth is engaged with
abstraction throughout these works.... But it is always
contained, and often it is the geometry of the window that
Study for Wind seems to keep it at bay.” After criticizing Wyeth for never
From the Sea being willing to break the “rules” associated with value
1947, watercolor on paper, composition, Kennicott concludes that “the cumulative
14 x 20 in. reductionism of his work, the austerity of its dun-colored
© Andrew Wyeth palette, dulls the mind more than it sharpens the eye.”
The Marunuma Art Park Perhaps the most telling criticism leveled by Ken-
Collection, Asaka, Japan nicott and other critics is the complaint that the general
public and most painters find that Wyeth’s work does
stimulate their minds and sharpen their eyes. They as-
sume that if a work of art has popular appeal, it is, by
definition, inferior. Calvin Tomkins, the former art critic
for The New Yorker magazine, dismissed a 1998 show of
Wyeth’s landscapes at the Whitney Museum of Ameri-
can Art in New York because the paintings appealed to
the museum-going public and to Richard Nixon (who
displayed Wyeth’s paintings in the White House during
his presidency). Once again, the critics dismissed Wyeth’s
Study for Wind work on the basis of superficial and irrelevant criteria.
From the Sea When Wyeth described his own work, he would
1947, watercolor and pencil usually identify the people and places included, as well as
on paper, 17 3/4 x 23 7/8 in. the context in which the artwork was created. He always
© Andrew Wyeth said he had to paint what he knew well and couldn’t
The Marunuma Art Park imagine accepting a commission to paint the portrait of
Collection, Asaka, Japan a stranger or a landscape of an unfamiliar location. The
identity of the subject was critical to his artwork, as were
the abstract principles of design. He might refer to one
painting as “mature,” meaning it was structured around a
sophisticated plan that left much to the viewer’s imagi-
nation, but there was never a question about the work’s
being inspired by familiar people, places, and experiences.
That is one of the reasons people relate so well to his art.
It speaks to them because it refers to shared experiences.
Wyeth’s compositional plan for each of his paintings
evolved through a series of drawings and watercolors done
Off at Sea
1972, tempera on panel
© Andrew Wyeth
Private collection
historic influences
The Pikes
1965, watercolor on paper
© Andrew Wyeth
The San Diego Museum of Art
Gift of Mr. and Mrs. Norton S. Walbridge
historic influences
Evening at Kuerners
1970, drybrush watercolor on paper
© Andrew Wyeth
Private collection
NANCY TANKERSLEY
“I
t would be much easier to paint every- of grass, or building window when we gaze at paint a selective impression of a scene as well as
thing I see in the landscape exactly as the landscape, nor do we focus on every petal expressing her feelings about the subject.
it appears than it is to only paint the on a flower or hair on a person’s head. And how Recent research supports the idea that
essential elements,” says Maryland artist Nancy we remember what we have seen has more to human beings have selective memories. For ex-
Tankersley. “By simplifying and focusing my do with the way we felt when we saw it than the ample, psychological scientist Linda Henkel of
paintings, they are more likely to reflect who specific details. We might remember a great meal, Fairfield University in Connecticut presented
I am as an artist, as well as the actual response lots of laughter, and good friends who joined us data showing that people who take snapshots
viewers have to the subjects I paint.” for dinner but forget the name of the restaurant wind up with poorer memories of the subjects
To explain herself further, Tankersley or its address. Our recollections are selective, of those photographs. Participants in one of her
points out that none of us see every leaf, blade so it makes perfect sense that Tankersley would research projects had worse recall of objects,
Nancy Tankersley
ARTIST DATA
NAME: Nancy Tankersley
BIRTHDATE: 1949
LOCATION: Easton, MD
INFLUENCES: “Sargent, Zorn, Sorolla,
and living artists Quang Ho, Carolyn
Anderson, Kim English.”
WEBSITE: www.nancytankersley.com
Golden Haze
2013, oil, 16 x 16 in.
Courtesy South Street Art Gallery, Easton, MD
Plein air
Tilghman Afternoon
2008, oil, 12 x 12 in.
Private collection
Plein air
Brookletts Morning
2013, oil, 18 x 18 in.
Private collection
Plein air
who said thing that still resonate with her. “She a place I’ve observed and painted, I have no West Cottage
was talking about ways artists at the end of the hesitation in using my own photographs in the 2013, oil, 8 x 10 in.
19th century created great paintings from black studio. I still remain focused on simplifying Private collection
-and-white photographs because the inferior the composition, editing extraneous details, Plein air
still images could only suggest what the subject and expressing what appealed to me about the
looked like, not offer exacting details and colors,” location. like putty knives to create richer painting sur-
Tankersley says. “But then she pointed out that “In getting at the essence of a subject, faces. “When I see an artist using new materials
as the technology of photography improved, art- I might also add things that weren’t actually and techniques, I often experiment with those
ists allowed themselves to become dependent on part of the landscape I observed. I remember to discover whether or not they can be useful to
everything the camera recorded. Her point was hearing someone complain that another painter me,” she says. “For example, I have done some
that artists need to interpret what is in their refer- added boats to a coastal scene that he made up of my landscape paintings on frosted Mylar and
ence material, not copy it exactly. In her opinion, from his imagination. The complaining artist liked the way the slick, non-absorbent substrate
it would be better to use bad photographs or suggested that adding those boats was wrong. accepted the oil color.”
black-and-white snapshots because, of necessity, To me, if the painting was improved by adding
artists have to bring their own interpretation to boats, it was perfectly acceptable for the painter Just The Essentials
those still images.” to add what he remembered, sketched some- To get at the essential aspects of a land-
Linda Henkel’s research findings on where else, or adapted from other boats docked scape, Tankersley first surveys a location to
memory and photography don’t mean that pho- along the shoreline.” determine how the pattern of light and shadow,
tographs can’t be helpful to artists who use them Tankersley points to the work of Utah as well as the collection of shapes, might be
as resources when developing studio paintings. artist Douglas Fryer, who gets to the essence of presented on canvas. “When I first started
“I have no objection to using a variety of tools his landscape subjects and achieves a balance be- doing plein air paintings, I went in search of
to create paintings, even digital photographs,” tween abstraction and representation. She also the perfect scene to paint,” she says. “It wasn’t
Tankersley says firmly. “There is no point to notes that Fryer uses a wide range of tools to long before I accepted that there is no perfect
copying what a camera recorded, but if a still create his oil paintings, and that he is willing to scene. I realized I didn’t need to head outside in
image can be useful in recalling details about experiment with unconventional painting tools search of a body of water, a grove of trees, or a
historic barn. Instead, I should think about the turned her attention full-time to being a painter.
abstract relationship of values, colors, shapes, In 2004 she and her husband, Carl Tankersley,
and edges. Now, after I pick a location, I do a became the owners of the South Street Art Gallery
360-degree review of a scene, look at various in Easton, Maryland. That same year, she was one
parts of a landscape through a viewfinder, and of the primary organizers of the first annual Plein
try to identify interesting shapes and lights. My Air — Easton! festival. In 2009, she co-founded the
experience with a camera actually informs how I Easton Studio & School, where she now teaches
view things as a painter.” weekly classes and short-term workshops. She
When teaching a workshop, Tankersley states that her experience in community-building
recommends students bring the following oil helped her with her endeavors in the festival, the
colors: titanium white, a warm yellow (cadmium school, and the gallery. She is a Signature member
yellow), a cool yellow (cadmium lemon), a warm of the Mid-Atlantic Plein Air Painters, the Washing-
red (cadmium red light or naphthol red), alizarin ton Society of Landscape Painters, a the American
crimson, and ultramarine blue. Optional colors Impressionist Society, the Oil Painters of America,
are burnt sienna, phthalo blue, viridian green, and the Salmagundi Club in New York City.
and any black. The solvent she recommends is
odorless Gamsol or turpenoid, and the medium M. STEPHEN DOHERTY is editor-in-chief of Plein-
(not required) is Galkyd or Liquin. Her recom- Air magazine.
mendation for brushes is an assortment of syn-
thetic and natural bristle filbert-shaped brushes. See more of Nancy Tankersley’s
paintings in the expanded digital
NANCY TANKERSLEY studied art at Miami Univer- edition of PleinAir.
sity in Ohio and earned a B.A. in community studies
from the University of California at Santa Cruz, a Wishfull Thinking
degree that emphasizes community organization. 2008, oil, 12 x 9 in.
Following that were years spent in social work and Private collection
community action initiatives, before Tankersley Plein air
artist profile
Busy Night
2011, oil, 11 x 14 in.
Private collection
Studio
Crab Feast
2013, oil, 14 x 11 in.
Private collection
Studio
artist profile
Lifting Fog
2012, oil, 11 x 14 in.
Courtesy South Street Art
Gallery, Easton, MD
Plein air
Summer Cottage
2012, oil, 11 x 14 in.
Courtesy South Street Art Gallery,
Easton, MD
Plein air
Plein Air Collector
P
eter Campbell says he is not the best at
promoting his artwork. So the story of
how he sold a large body of work to one
couple is interesting, perhaps especially to other
artists who aren’t experienced salespeople and to
art lovers who may be reluctant to begin build-
ing a collection.
“Our friendship and business relationship
began quite serendipitously,” Campbell explains.
“Carol Madeen, owner of Madeen Interiors in
Durango, Colorado, showed one of my paintings
to Marjie and Howard Wilson to determine if
they might want to buy it for the Arts & Crafts
home they built.” The couple agreed to keep the
oil painting for a few days, and after becoming
comfortable with it hanging in their home, they
bought it. Then, after living with the first paint-
ing and seeing it differently each time they stud-
ied it, they wanted to view more of Campbell’s
work. Over the next few years, they wound up
buying about 15 pieces and commissioning 10
murals. Clearly, the Wilsons responded positively
to Campbell’s landscape paintings, enjoyed
getting to know him, and thought his paintings
looked perfect in their Arts & Crafts-style home.
Campbell says that in his experience, one
sale often leads to another from the same col-
lector, although it doesn’t usually add up to as
many paintings as the Wilsons have acquired.
“If a collector really responds to the subject
matter and emotional content in my paintings,
they usually want to have other works that have
a similar look and feel,” the artist says. “My
best clients say they really enjoy my paint-
ings because the images seem timeless. That is,
they could have been painted 100 years ago or
yesterday. Because of that, the owners don’t get
tired of the paintings.”
Like many collectors, the Wilsons responded
to Campbell’s paintings of landscapes illuminated
by the light of dawn or dusk. “I trained as a pho-
The view into the Wilsons’ living room, with Peter Campbell’s 34 x 28-inch
tographer and first worked as a professional in landscape painting titled River Light hanging above the fireplace.
I
f you have taught or taken a workshop, you
have met participants who have contrasting Anne Blair Brown
reasons for being part of the educational experi-
ence. Some workshop students want to show off to
the instructor because they are satisfied with their
artwork and hope that networking will bring atten-
tion to them. They aren’t interested in the planned
demonstrations, lectures, or — heaven forbid —
critiques. But there are also workshop participants
who signed up because they admire the instructor’s
work and believe he or she can help them pursue a
similar style and level of painting.
Anne Blair Brown was one of those students
who opened herself up to new ideas and materials,
accepted criticisms and suggestions, and savored the
ARTIST DATA
NAME: Anne Blair Brown
BIRTHDATE: 1969
LOCATION: Nashville, TN
INFLUENCES:“All Russian Impressionists, Edouard
Vuillard, Emile Gruppe, Charles Hawthorne, Lucy
May Stanton, Elizabeth Sparhawk Jones.”
WEBSITE: www.anneblairbrown.com
Top o’ the Mornin’
2014, 24 x 24 in.
Private collection
Studio
Treasured Past
2014, oil, 48 x 48 in.
Collection the artist
Studio
STEP 1: The scene Anne Blair Brown painted STEP 2: The initial burnt sienna wash Brown made to block in the compo-
sition of shapes and values
Front Porch The process of trying to help another person “I work out the composition with that
2013, oil, 11 x 14 in. understand what I do is extremely valuable to monochromatic block-in so I can enjoy the
Private collection me. Also important is the wonderful feedback subsequent stages of adding color and manipu-
Plein air I get when students seem to really grasp my lating the brushwork,” she explains. “Once I am
explanations and respond well to my teaching confident in the composition and value range,
from artists whose work I admire. I think it methods.” the rest of the painting process is a joyous explo-
is important to continually open yourself to Through this process of education and ration of spontaneous, expressive, and gestured
new concepts for consistent artistic growth.” evaluation, Brown established a set of proce- use of brushes. Those brushes are the biggest
One of the unexpected ways Brown has dures that help her achieve the desired results. filberts and flats I can handle that allow me to
learned from others is through the workshops She first focuses on a potential painting subject make all the broad strokes I need. Lately, I’ve
she offers. “When I teach another person and makes four or five thumbnail sketches of also been using egbert brushes that have extra-
what I know, I have to be organized, thor- the basic elements of the design to indicate the long bristles and a lot more flexibility.”
ough, and responsive,” she says. “Moreover, scale and placement of the forms. Once she is Brown prefers to paint on panels covered
I have to explain things I would normally satisfied with that plan, Brown draws the major with Claessens linen or double-oil-primed linen
do intuitively or out of habit. That forces shapes on the canvas using a thin wash of burnt canvas. Her palette of colors includes ultra-
me to evaluate my materials and procedures. sienna or raw umber. marine blue, alizarin crimson, burnt sienna,
artist profile
Peace Within
2013, oil, 11 x 14 in.
Private collection
Plein air (interior painted on location)
artist profile
Morning Mood
2013, oil, 9 x 14 in.
Private collection
Plein air
RICHARD SNEARY
L
ast year Richard Sneary participated in about 10 plein air events,
most by invitation or juried selection, and he won about the same
number of awards in those competitions. That’s a remarkable
achievement for an artist who started participating in outdoor painting
events only about five years ago. Before then, his professional activities
were primarily focused on architecture and architectural illustration. He
painted outdoors only occasionally, usually during workshops scheduled in
connection with an annual conference.
“The American Society of Architectural Illustrators, of which I am a
president emeritus and a member since 1989, has an annual conference
that highlights a juried competition of approximately 60 of the year’s top
illustrators and includes seminars that are beneficial to the membership,”
Carriage House
2012, watercolor, 10 x 14 in. Afternoon Shadows
Private collection 2012, watercolor, 14 x 10 in.
Plein air Private collection
Plein air
ARTIST DATA
NAME: Richard Sneary
BIRTHDATE: 1940
LOCATION: Kansas City, MO
INFLUENCES: “Winslow Homer, John
Singer Sargent, Charles Reid, and Alvaro Back Yards
Castagnet.” 2012, watercolor, 14 x 10 in.
WEBSITE: www.richardsneary.com Private collection
Plein air
North Barn
2011, watercolor, 10 x 14 in.
Private collection
Plein air
Morning Shore
2012, watercolor, 14 x 10 in.
Collection the artist
Plein air
artist profile
Civita 3
2010, watercolor, 10 1/2 x 10 1/2 in.
Collection the artist
Plein air
Grandpa’s Place
2013, watercolor, 10 x 14 in.
Private collection
Plein air
artist profile
Picket Fence
2013, watercolor, 10 x 14 in.
Odd Fellows Collection the artist
2012, watercolor, 14 x 10 in. Plein air
Private collection
Plein air
artist profile
BOB BECK
Paintings to Hang
in Your Home
When Wisconsin artist Bob Beck saw an exhibition of Russian Impressionist paintings, he immediately
knew he wanted to paint with similarly thick paint, bright colors, and bold brushwork to create
expressive images. Those are the kinds of paintings he wants to hang on his walls.
M
any artists discover their professional
calling at the moment they see a par-
ticular piece of artwork in a gallery or
museum. Suddenly they realize what can stir their
souls and challenge their minds. That’s especially
true if the artwork is an unexpected discovery.
Reproductions of artwork or digital images on a
computer screen may have that impact, but it is
more likely to occur when an artist comes face-
to-face with a monumental painting by someone
like Nicolai Fechin, John Singer Sargent, Edgar
Payne, Winslow Homer, or Andrew Wyeth. Work
by artists who defined and championed a style
of painting can reach across time and space to
change the lives of those who discover the paint-
ings, sculptures, prints, or drawings.
That’s what happened to Bob Beck just
seven years ago, when he viewed an exhibition of
paintings by 20th-century Russian Impression-
ists. “Until then, I had spent 20 years working in
a factory, painting in watercolor and oils on the
side,” he recalls. “My passion for art eventually
motivated me to start my own art gallery and
framing shop. But when I saw the exhibition of
Russian Impressionist paintings at Vail Fine Art
in Colorado, I knew what I wanted hanging on
my wall, and I wanted to learn to use oil paints
the way those artists did.”
Beck bought books on the Russians and
Horseshoe Bay Farms A Little Bit of Country
2013, oil, 16 x 20 in. 2013, oil, 16 x 20 in. other artists who worked in that style, and he
Collection the artist Private collection investigated how they created paintings that were
Plein air Plein air informed by the French Impressionists’ isolated,
thick strokes of color but focused on celebrating a
society of working-class people, small villages, and
farming activities. He believed that kind of work
encompassed all that painting could be, especially
when it was a means of expressing a simple and
honorable way of life.
10:00am Trees
2014, oil, 16 x 20 in.
Private collection
Plein air
A Rare m602
2013, oil, 16 x 20 in.
Collection the artist
Plein air
The three piles of purple mixtures Beck mentions are what he uses for end of the development of a landscape. When working en plein air, I con-
the initial sketches on the red-toned panels. “Accurate drawing is very im- tinue until the painting is completely resolved, because I don’t like making
portant to me, so I quickly draw the lines to establish the scale, perspective, too many changes once I am back in my studio. To me, studio painting and
and composition of shapes,” says the artist. “The paint is thin enough that plein air painting are two completely different enterprises, so I seldom use
I can wipe off lines that need correcting, and the color doesn’t adversely outdoor paintings as references for large studio paintings.”
influence the paint applied over it. Once I am satisfied with the composi- Because Beck continues to own and operate his own gallery and
tion, I start working with the local colors, and continually adjust those in frame shop, he has little time for teaching or participating in plein air
terms of the edges, relative value, and temperature. Because I am trying to events, save for a few festivals within easy driving distance of his home in
work in the style of the great Russian artists, I don’t mix colors thoroughly Manitowoc, Wisconsin.
on my palette — I like to have the pigments blend on the canvas and in
the eyes of the viewer. M. STEPHEN DOHERTY is editor-in-chief of PleinAir magazine.
“I make a point of working all over the painting surface, and not just
around the center of interest. I often use a really sharp palette knife to add See more of Bob Beck’s paintings
and scrape away paint, and more often than not I add the sky toward the in the expanded digital edition of PleinAir.
Day’s End
2013, oil, 16 x 20 in.
Collection the artist
Plein air
Breakfast at Lyle’s
2013, oil, 16 x 20 in.
Collection the artist
Plein air
t
Dinner at Lyle’s
2014, oil, 20 x 16 in.
Collection the artist
Plein air
Abandoned
2014, oil, 16 x 20 in.
Collection the artist
Plein air
artist profile
JOHN POTOTSCHNIK
A Gentle Narrative
By adding figures, vehicles, buildings, and animals to his paintings, Texas artist John Pototschnik
suggests a patriotic, homespun story that engages viewers. An increasing number of people are
being drawn into those paintings, and to his artist’s blog of interviews.
“T
he gentle narrative found in my paintings
evolves as the images take shape,” explains
John Pototschnik, winner of the PleinAir
Magazine Award in the Art Renewal Center’s Interna-
tional 2013/2014 ARC Salon. “It is a natural, unforced
means of expressing the way I wish life was, and the
way it could be again. I think of the paintings as expres-
sions of the America we all love. The narrative under-
tones are not a result of my illustration background,
but rather a natural expression of childhood memories.
There are many ways of beautifully expressing oneself
through the landscape, and mine is just one way.”
Most of these narrative paintings are created in a
studio, but some of the ideas and references come from
the hundreds of plein air paintings Pototschnik has made
on 5 1/2 x 8 1/2-inch sheets of paper that are held in
three-ring binders. “Plein air work is critically important
for what I do,” he says. “I have two mental approaches
to outdoor painting. First, I consider most of the work
done on-site as studies to use as reference, as well as to
inspire and inform the larger studio works. I seldom sell
those studies. The other mental approach is to create
standalone pieces that are available for purchase.
“Plein air painting can cause many to procrastinate
and not actually get out and paint. The thought of
getting all the equipment together, selecting canvases,
finding a location, and dealing with the elements can
give one pause. To overcome most of these obstacles, it’s
a good idea to simplify, simplify, and simplify again. One
has to reduce what’s needed to a bare minimum so that it
is easy to just pick up and go.”
Pototschnik continues, “I began outdoor painting
in earnest in 1985 by working with oils on 5 1/2 x 8 The Red Gate
1/2-inch sheets of 100 percent rag paper sealed with a ARTIST DATA 2013, oil on board,
coat of acrylic gesso. I’m still painting those kinds of 10 3/4 x 9 3/4 in.
sketches, and I’m filling up the 11th binder, each one NAME: John Pototschnik Private collection
containing 100 color studies placed in sleeves. Working BIRTHDATE: 1945 Plein air
small on a portable substrate has been a great way to LOCATION: Wylie, TX This painting received
create a lot of paintings quickly and therefore to speed INFLUENCES: “Camille Corot, Barbizon and naturalism an Award of Excellence
up the learning curve.” schools, Richard Schmid, and Kevin Macpherson.” in the 2014 Plein Air
WEBSITE: www.pototschnik.com Southwest Salon.
The artist explains, “When I’m traveling or white and oil colors by Gamblin and Winsor & is very important to their businesses, so they
going out to a specific painting location, I carry Newton that include ultramarine blue, cadmium understand how to navigate through cyberspace.
a stack of those gessoed sheets, pre-marked to red, and lemon yellow. He also has available They designed my website and encouraged the
various proportions. Once I decide on the ap- other reds, yellow, and blues, as well as ivory weekly blog I began writing in October 2010,
propriate proportion, I tape the paper to a board black, and will occasionally add yellow ochre or the first installment of which featured the crea-
attached to an 8 x 10-inch Open Box M pochade chromium oxide green. tive life of George Washington Carver.
box that holds four completed studies. Each Pototschnik says that selecting a subject to “An important purpose of the blog, of
study includes written information on accessing paint outdoors is a matter of “merging a number course, is to direct folks to my website. I found
the photos of the scene, the location, the amount of influences, including personal background, inspiration for the type of blog I wanted to do
of time spent, the date, the direction faced while temperament, knowledge, and taste.” He goes from James Gurney and Stapleton Kearns. Both
painting, the palette of colors, and the tone of on, “Beyond that, it’s about contrasts of light and
men are extremely talented, knowledgeable, and
the painting surface, if any. The painted oil stud- dark values, hard and soft edges, large and small generous. The artist interviews I do came about
ies then become accessible records of my travels shapes, rough and smooth textures, broad and quite by accident. My wife and I discovered
and are a constant help when I need specific, detailed sections, intense and dull colors.” the work of Australian artist John McCartin at
accurate information for studio work. Greenhouse Fine Art in San Antonio, Texas, and
“The key to successful plein air painting is Talking With Artists were overcome by its beauty and excellence. I
to keep equipment and procedures simple and Pototschnik has become well known to contacted him just to tell him how much I ap-
compact. When I go out to paint, all my supplies other artists and to art collectors through the preciated his work, and we connected. I wanted
fit into a bag that is 9 x 16 x 11 inches, if I’m using weekly blog he maintains. The text and images to learn more about him and his work, and he
the Open Box M pochade box. The bag will also in the interviews he conducts with some of the agreed to answer a few questions. Eventually that
hold brushes, palette knives, large tubes of paint, top painters in the country contain a wealth of conversation gave rise to interviews with more
mineral spirits, palette cups, a level, paper towels, information. In many blog posts, he features the than 50 artists.”
masking tape, and assorted items, just in case. My artists’ backgrounds, experiences, and opinions Pototschnik goes on, “I enjoy writing
other supplies include Robert Simmons flat bristle on relevant issues. Other blog posts offer the and believe I express myself more effectively
brushes, Rosemary Ivory flat and rigger brushes, results of questionnaires Pototschnik sends to through the written word than orally. The
and a few synthetic rounds thrown in for good artists to gather opinions about issues that mat- blog has turned out to be a wonderful learn-
measure. I also carry a compact Bogen tripod. For ter to painters. ing experience, and I’ve had the opportunity
larger plein air works, I use a Soltek easel.” “My blog is a result of encouragement and to correspond with some really great people.
The palette of colors Pototschnik uses in- direction from my two sons, who are both self- I’ve also learned that people who follow the
cludes Winsor & Newton Griffin alkyd titanium employed,” the artist says. “Internet marketing blog appreciate receiving in-depth, informative,
Country Thoroughfare
2013, oil on canvas, 10 1/2 x 18 in.
Private collection
Plein air
artist profile
A Quick Round
2013, oil on paper,
6 x 13 1/4 in.
Collection the artist
Plein air
artist profile
CLIFFTON AUSTIN
O
ne would expect a former patent
draftsman and technical illustrator Cliffton Austin
to paint with complete control and
precision, and indeed Cliffton Austin has the
technical proficiency to make all his paintings
successful. But he might become very bored if
his efforts were too measured, repetitive, and
predictable. “I loved being a technical illustra-
tor, patent draftsman, and office manager after
I left art school because I had the opportunity
to hone my drawing skills and earn a living
doing something I enjoyed,” he says. “Plein
air painting also involves a lot of training and
effort, but it also affords the opportunity to
enjoy being creative, responding to nature,
and sharing perceptions with others. Hav-
ing fun and being satisfied can make any task
enjoyable.”
The “fun” Austin is referring to comes
from exploring new locations, materials, and
methods. He works in watercolor, gouache,
oils, and pastels both on location and in the
studio, and the selection of supplies and
procedures he uses with each of those media the fine-tooth, quick-drying acrylic primer gave medium values with pure color, followed by the
may vary significantly from one painting to him a painting surface with just enough tooth lighter values. I don’t add thick highlights until
the next. “I read books and magazines, paint to hold the softer pastels. the very end, and think of them almost as abstract
alongside other plein air artists, and watch Austin also experimented with different ways expressionist marks.”
demonstrations, and those often give me ideas to lay down washes of color before applying the
to try,” Austin says. “Not all of them will work soft pastels. He first drew the big shapes with hard
for me, but over the years I have made changes pastel or gouache and dissolved the colors so they ARTIST DATA
that were for the better.” would become more transparent and would fill
When he first started using pastels, Austin the larger shapes. In other paintings, he used trans- NAME: Cliffton C. Austin
worked with Rembrandt brand pastels on a parent watercolors to paint the underlying large BIRTHDATE: 1956
range of surfaces from smooth to gritty. Later, shapes. Ultimately, he decided to add strokes of LOCATION: Aurora, CO
he began using softer brands like Terry Ludwig Terry Ludwig plum or eggplant violet (v100) color INFLUENCES: “Art history, abstract
and Sennelier, and that necessitated switch- to the homemade boards and dissolve that layer of impressionists, contemporary realists,
ing to textured surfaces that held significant pastels with a fast-drying solvent. neo-impressionists, magazine illustra-
amounts of pastel. “I rub the plum-colored pastel with enough tors, friends, and critics. There are just
He then came up with the idea of making pressure to scratch the surface of the prepared too many names to list.”
his own supports by coating sheets of foamcore panel and leave a nice deposit of pastel,” Austin WEBSITE: www.cliffaustin.com
or gatorboard acid-free boards with Art Spec- explains. “Then I dissolve the pastel to establish
trum Colourfix Primer in aubergine. Applying a transparent, dark value. I then introduce the
STEP 3: Drawings
Austin made to
determine the
composition of
values
STEP 1: Austin sets up his French easel, with a painting panel trough to
catch loose pastels, and his standard box of landscape colors.
STEP 4: Austin applies broad strokes of pastel to indicate the compo- STEP 5: Using a fast-drying solvent, Austin dissolves these initial
sition of colors. strokes of pastel.
STEP 8: The artist makes adjustments in the arrangement of light and STEP 9: Specific details are added to further define the location.
dark shapes.
Dekoevend Park
2009, pastel, 11 x 14 in.
Collection the artist
Plein air
Canyon Rock
2014, oil, 16 x 20 in.
Collection the artist
Studio
Expanded Digital Edition Content
Fall Confetti
2011, pastel, 9 x 12 in.
Collection the artist
Studio
Breath of Spring
2014, oil, 16 x 20 in.
Collection the artist
Plein air
Cherry Creek
2014, pastel, 12 x 16 in.
Collection the artist
Studio
oil painting demonstration
JOHN HUGHES
T
he materials and techniques John The value of this kind of information for
Hughes uses to create his impressive John Hughes painters is that it may increase their awareness
landscapes may vary from one painting of the power they have to influence people’s
to the next and one year to the next. They may response to the visual world. An artist can shift
also be quite different from the ones he uses color mixtures in one direction or another to
when working on larger canvases in his studio. convey a particular idea or feeling about a loca-
But no matter how often he might shift from tion, and observers may not even be able to say
being a “wild child painter,” as he calls himself exactly why they respond enthusiastically to the
when he’s doing quick studies, to an artist who artist’s work.
labors over the details in an oil painting, he “I often start a landscape painting by apply-
always arrives at a point at which he celebrates ing a thin wash of a warm, reddish color across
nature in ways that attract the attention of col- the entire surface of a canvas,” Hughes explains.
lectors, students, and fellow artists. “That color is made from a combination of
There is much about Hughes’ creative transparent oxide red, a touch of ultramarine
process that results from his innate talent and blue, and a small amount of quinacridone rose.
excellent drawing skills, but there are also While the oil color is still wet, I use a bristle
aspects of that process that can be shared with ARTIST DATA brush or cloth dampened with odorless mineral
painters aiming to make better connections spirits to wipe off selective areas of paint to
with a viewing public. Chief among them are NAME: John Hughes introduce the lighter-valued shapes in the
those that allow warm colors to become more BIRTHDATE: 1949 composition. Additionally, I place a few dark
important to a painting than cool ones. LOCATION: Taylorsville, UT accents in order to set up a value balance. After
While painters don’t want to follow trends INFLUENCES: “John Singer Sargent, those simple steps, I have an indication of how
in interior design or fashion, there is something Sorolla, John F. Carlson, Edgar Payne, the drawing and composition of values might
to be learned from experts in those fields who Hanson Puthuff, the Ash Can School, as evolve. If I’m not satisfied, I can easily wipe out
consider the impact of color on the sale of a well as many other living and deceased or wash more reddish color over the surface and
home, the success of a job interview, a patient’s artists.” adjust the placement of the three main values.”
health, the productivity of workers, and the WEBSITE: www.johnhughesstudio.com Once Hughes is finished establishing
perceived temperature in a room. In all those what he calls a “monochromatic block-in,” he
situations, warmer colors will have a more posi- begins adding local colors on top of the still-wet
tive impact than cooler ones. expert on person-centered design, pointed out underpainting. That tone influences any color
Amy Morin, a writer for Forbes.com, that response to color is influenced by a person’s applied over it, either by mixing with the new
made the point about preferences for warm cultural background, associations with past layer of oil or by peeking through gestured
colors in an article she wrote after interviewing experiences, and the environment in which the brush marks or thinly painted peripheral areas
Sally Augustin, Ph.D., to find out more about color appears. Nevertheless, warm colors and of the picture.
color psychology. Augustin, an environmental warm shades of colors are generally considered Hughes often makes a statement to his
psychologist and internationally recognized more stimulating and attractive. students that sums up his philosophy about
Demonstration:
Mountain Stream
STEP 1: The
scene Hughes
selected for
his painting
demonstration
STEP 2: Hughes
applies a thin
wash of a warm
oil color made
by combining
transparent
oxide red, a
touch of
ultramarine
blue, and a
small amount
of quinacridone
rose.
STEP 3: The
artist wipes
areas of lighter
value in the
sky and rocks,
then uses
more of the
reddish wash
to indicate the
placement of
trees and other
landscape
elements.
Cottonwood Stream
2012, oil, 8 x 10 in.
Collection the artist
Plein air
See more of John Hughes’ plein air and studio paintings in the
expanded digital edition of PleinAir.
Anacapa Island
2013, oil, 16 x 24 in.
Courtesy Mountain Trails Gallery Jackson Hole, WY
Studio
T
he first group of artists eligible for
the $15,000 Grand Prize in the
2015 PleinAir Salon were announced
recently by PleinAir magazine. Carl Bretzke
won First Place for his oil painting The Winter
of 2014 (In Memory Of ). Barbara Jaenicke
took Second Place, and Third Place was won
by Patricia Bellerose. Best Plein Air (all
subject matter) was won by John Cook, the
Best Figure in the Landscape award went to
Marc Dalessio, and the Best Water award
was won by Haidee-Jo Summers. Deborah
Tilby earned the Best Landscape award,
and the Best Nocturne prize went to Jim
Wodark. Christopher Leeper won for Best
Floral, and Best Building went to Anne
Blair Brown for Treasured Past, the painting
reproduced on the cover of this issue. Jeffrey
Larson nabbed Best Still Life with Pail and
Teapot.
The $21,000 in prizes for 2015 Salon
The Winter of 2014 (In Memory Of) will be awarded next April at the 2015 Plein Air Convention & Expo. The PleinAir Salon con-
Carl Bretzke sists of six bi-monthly contests, with the First, Second, and Third Place winners of each contest
2014, oil, 24 x 36 in. automatically entered into the annual competition. The Grand Prize in the annual competition is
First Place award winner $15,000 cash and the publication of the winning image on the cover of PleinAir magazine, along
with a feature story. Second Place earns an artist $3,000, and Third Place yields $1,500 in cash.
Three additional finalists win $500.
Boat Yard
Monterey Moonbeam John Cook
Jim Wodark 2013, oil, 8 x 20 in.
2014, oil, 20 x 20 in. Best Plein Air award winner
Winner of the Best Nocturne award
A
rtists of all levels, from beginners to journeymen to top-selling gallery painters, were drawn to the
northernmost reaches of New York state for the 2014 Publisher’s Invitational Paint-Out, June 18- Publisher Eric Rhoads
22 at Paul Smith College in the Adirondack Mountains. More than 100 painters ate, talked, and
painted together for five days. Each year the event gets bigger, with artists clamoring to return and enjoy
the camaraderie of the paint-out.
Patrick Barley is a typically enthusiastic participant. “Founded by PleinAir magazine Publisher Eric
Rhoads, the 2014 Publisher’s Invitational is the experience of being surrounded by 100 plein air artists, from
beginner to renowned, sharing what we all love: art,” says Barley. “Usually we come for one of these reasons:
to view great art as it’s made, to try and capture incredible vistas on canvas and paper, and to absorb as much
knowledge as we can. We’re never disappointed. Personally, I’ve discovered the fourth reason — it happens
the minute I arrive and lasts way beyond my last day at the Invitational. It is the addictive, palpable cama-
raderie. Within 24 hours, we’ve become a true community of artists. These are the reasons I — we — try
to return every year. It’s exhilarating, absolutely pure work, but just ‘plein’ fun.” For more information, visit
www.facebook.com/groups/paintcamp.
— Reported by Bob Bahr.
A
new project called “Where in the World Is...”
allowed collectors to see paintings created
by plein air painters the same day they made
them, along with videos that showed their process and
progress in making the pieces. The resulting paintings June’s Palette
could be purchased immediately. Marc Hanson
Illume Gallery of Fine Art (Salt Lake City), the 2014, oil on canvas, 11 x 14 in.
Mission Gallery (St. George, Utah), and Authentique Courtesy Illume Gallery of Fine Art, Salt Lake City, UT
Gallery (St. George, Utah) sponsored the event, which
Atmosphere spanned three days, June 11-13. Recognizable names
Kathleen Dunphy dotted the long list of participants, including Marc Hanson,
2014, oil, 16 x 12 in. M. Stephen Doherty, Kathleen Dunphy, Kathryn Stats, Ron
Courtesy Illume Gallery of Fine Art, Rencher, Aaron Schuerr, Randall Sexton, Lorenzo Chavez,
Salt Lake City, UT Linda Tippetts, Kim Lordier, Lori Putnam, Kate Starling,
and Dave Santillanes.
Each participating artist recorded a brief video at the beginning, middle, and end of the paint-
ing session to help viewers and potential collectors get a feel for the scene and the day.
— Reported by Bob Bahr.
Canandaigua Interior
Awards Picked in Lori Putnam
2014, oil, 9 x 12 in.
Wayne Art Center Courtesy Illume Gallery of Fine Art, Salt Lake City, UT
M
ark Boedges won the Best of
Show award for his oil landscape
titled The Old Farm in the Wayne
The Old Farm (Pennsylvania) Art Center Plein Air Festival.
Mark Boedges Maryland artist Stewart White received the
First Place award for his watercolor titled Tent
Raising. Other awards went to Valerie Craig
(Second Place) and Charlie Hunter (Third
Place). Special awards and Honorable Men-
tion prizes went to Richard Abraham, Kathie
Odom, Dorothy Hoeschen, David Lussier,
Katherine Galbraith, Larry Rudolech, and
Michele Byrne, while the Artists’ Choice Make a Beeline
award also went to Kathie Odom. For more Kathie Odom
information, visit www.waynepleinair.org.
W J
ith a top prize of $1,500, the recent 8th Annual Edge of ohn P. Lasater IV took home three big awards in the 2014 Plein Air
the Rock Plein Air Painting Event drew plein air painters on the White River in Arkansas, including the Best of Show award,
to Beloit, Wisconsin. Kyle Martin’s Strong, After the Rain the Artists’ Choice prize, and the Purchase Award. Other awards went
won Best of Show. Matthew Holt won the Pride of Beloit award and to Jason Sacran (First Place), Nyle Gordon (Second Place), Tim Breau
$1,000, while Jenny Anderson won the Friends Award and $1,000. (Fourth Place), and Jenny Walker (Honorable Mention). Five awards were
The Patron of the Arts prize went to Jan Norsetter, and the Spirit of for works on paper, and those went to Marlene Gremillion (First Place),
the Arts award was won by Michael Reif. Honorable Mentions were Alicia Farris (Second Place), Gary Wester (Third Place), Joyce Hartmann
won by Paul Berquist and Carolyn Larkin. For more information, (Fourth Place), and Cynthia Schanink (Honorable Mention).
visit http://wipapa.blogspot.com. The First Timers’ award was presented to John Wooldridge, the
People’s Choice award was given to Jason Sacran, and the two student
awards were presented to Ava Obert and Michael Schraeder. Finally,
the award in the Quick Draw competition also went to Sacran. For
more information, visit www.facebook.com/pages/white-river-art-
ists/117484501632890
A
wards judge Lori Putnam presented Chad Smith the Best of Show award in the Finger Lakes Plein Air Competition & Festival, held June
5-8 in New York. The First Place award went to Kathie Odom, Third Place was won by Richard Thomas, the winner of the quick draw was
John Caggiano, and Honorable Mention prizes went to Deborah Hill, Adriana Meiss, Nikolay Mikushkin, Carrie Nixon, Roland E.
Stevens III, and Mikel Wintermantel. The winners of awards in the Community Paint Out were Helen Walter, Kristen Malone, Theresa F. Heinz,
Amy Stummer, Mike Novik, Tom Lightfoot, Leslie Bowers, and Hetty Easter. For more information, visit www.fingerlakespleinair.com.
KIRK RICHARDS
B
ecause of Kirk Richards’ training as a
classical realist, his approach to plein air
painting is very different from that of
many other artists who work outdoors. After
receiving rigorous training as a student of Rich-
ard Lack in the late 1970s, he began painting
large figure compositions, portraits, still lifes,
and landscapes. That approach to landscape
painting was called “impressionist” by Lack, not
because it related to the work of the French and approximately the same time over five or six days.
American Impressionists, but rather because “During the summer months there are very few
artists documented their impression of nature clouds in the sky, so it is easy to match the pattern
rather than its exact appearance. of light and shadow over the five to seven days it
Richards explains, “Mr. Lack taught us to use takes me to complete canvases that measure up to
certain materials and techniques, and he showed 36 x 48 inches,” he says. “For canvases that are too
us how to ‘paint up to your effect,’ meaning we large to withstand the force of the wind, I make
would anticipate the fleeting, dramatic effects of several studies on panels that are the same propor-
light so we would be ready to paint those moments tions as the studio painting I intend to create.
of beauty. Over the years, I have adapted his palette “Certain parts of the canyon attract a lot
to my personal needs, and I’ve developed my own of tourists and hikers, so I go to less populated
particular style of painting, but I still apply many
of the concepts I learned at the Atelier Lack in
Minneapolis.” ARTIST DATA
Over the years, Richards has created dozens
of small plein air paintings in Palo Duro Canyon, NAME: Kirk Richards
most measuring 8 x 10 or 9 x 12 inches. A couple BIRTHDATE: 1952
of years ago he challenged himself to work on LOCATION: Amarillo, Texas
larger stretched canvases, returning to locations at INFLUENCES: “My influences are varied,
but landscape influences include Thomas
Ancient Witness Moran, Dennis Miller Bunker, Willard
2006, oil, 30 x 20 in. Metcalf, and Ivan Shishkin.”
Private collection WEBSITE: www.kirkrichards.com
Plein air
artist profile
Evening in the Canyon and when I’m down in the canyon everything ap- to stretched canvases for larger works. He adds
2006, oil, 16 x 20 in. pears very close, so I often paint from the rim and walnut alkyd medium to his oil colors so they
Private collection look across the canyon for a longer view and more dry fast enough for him to go back day after
Plein air atmospheric changes. The best time for me to day with a dry painting surface to work on.
start painting is about 5:30 to 6 p.m., when I can The artist uses a limited palette of seven colors
locations where I can paint without interruption. anticipate what will happen with the colors and and white, including cadmium yellow lemon,
I particularly like views with large foreground values over the two hours when I will be painting.” cadmium yellow medium, cadmium orange,
shadow shapes because the contrast of values When developing small plein air paint- cadmium red deep, scheveningen violet,
emphasizes the strong afternoon sun hitting the ings, Richards works on canvas-covered panels phthalo blue, ultramarine blue, and a white
canyon walls in the distance. The air is quite dry that a friend makes for him, but he switches that is a blend of cremnitz and titanium.
artist profile
Fortress Cliff
2008, oil, 22 x 30 in.
Private collection
Plein air
Distant Cliffs
2011, oil, 16 x 40 in.
Private collection
Studio, from plein air studies
artist profile
Mule Deer
2008, oil, 20 x 24 in.
Private collection
Plein air
artist profile
artist profile
Richards has sold all but one of the paint- M. STEPHEN DOHERTY is editor-in-chief of PleinAir The Cleft of the Rock
ings he has created in Palo Duro Canyon State magazine. 2012, oil, 18 x 14 in.
Park, either through galleries that represent him Private collection
or through exhibits he organizes in a rented Plein air
space in Amarillo, Texas. “At various times
I have rented the gallery space for a week
or a weekend so I could mount my own
displays,” he says.
DON MAREK
Thinking Abstractly,
Painting Realistically
While studying with an action painter, Michigan artist Don Marek became sensitive
to the psychological connection between artists and the action of their brushes,
as well as the impact of abstract shapes on a watercolor painting.
M
any artists talk about the underlying “When the weather is good, I do many
abstract structure of their realistic Don Marek paints on location. quick value sketches outdoors on 8 1/2 x 11-
paintings, but that’s often hard to inch sheets of card stock,” says Marek. “How-
see in their highly polished plein air work. They ever, I want to point out that before I even pick
eliminate brush marks, cover all of a toned up a brush, I ‘paint’ without a brush or water-
surface, and adhere to the principles of linear colors. That is, I look and I feel the calligraphy
perspective. These artists strive for truthfulness of a particular scene. I want the act of painting
in their observations. to be a dance with the materials, one of physical
For Don Marek, the truth of a landscape interpretation.
has as much to do with the energy and emo- “My sketches may or may not turn out to be
tion it conveys as it does the carefully rendered successful, but I love doing them. They help me
elements within his view. “In the early 1960s, I personalize my experience and lead to stronger
studied with the Abstract Expressionist painter compositions. I use pigments straight from the
Charles Shannon, who got me thinking about tube to get the maximum benefit of expression
the magic of painting,” Marek explains. “He and exploitation of the ‘accidents’ inherent to
encouraged me to give consideration to the ma- watercolor. I seldom spend more than 90 minutes
terials themselves — the plasticity of the paint on a plein air, even when painting on a half-sheet
and its effect on the flat pictorial space, the
color of moods, the drama of light and shadow,
and the transformation of shapes into symbols.
The magic was in the metamorphoses between
abstraction and realism.”
Over the years, Marek found that water-
color gave him the best opportunity to explore
and exploit the act of painting. The medium
facilitates an artist’s use of bold splashes of color,
fluid paint mixtures, and varying degrees of
opacity and transparency. Marek learned to use
strong mixtures of paint to create a composition
by painting only shadow patterns and letting
the white paper identify the sunlit facets of a
building, as in the case of Vine Street Bannisters.
And he found he could allow fluid mixtures of
warm reds and cool blues to run together, as in
Mattawan Barns.
Back Street
2013, watercolor, 14 x 22 in.
Collection the artist
Plein air
artist profile
ARTIST DATA
NAME: Don Marek
BIRTHDATE: 1937
LOCATION: Kalamazoo, MI
INFLUENCES: “John Marin, Tom Hoff-
mann, John Singer Sargent, Alvaro Cast-
agnet, Charles Shannon, Judi Wagner,
Edward Seago, and John Yardley.”
WEBSITE: www.donmarekwatercolors.com
artist profile
Autumn Derelict
2012, watercolor, 22 x 30 in.
Collection the artist
Studio
Jared’s Pond
2013, 14 x 20 in.
Collection the artist
Plein air
artist profile
Beach Colors
2013, watercolor, 16 x 20 in. Mattawan Barns
Collection the artist 2013, watercolor, 12 x 18 in.
Plein air Collection the artist
Plein air
artist profile
NYC “EL”
2012, watercolor,
22 x 30 in.
Collection the artist
Studio
Downtown
Kalamazoo
2014, watercolor,
22 x 30 in.
Collection the artist
Studio
Expanded Digital Edition Content
artist profile
Madeira Cliff
2014, watercolor, 16 x 20 in.
Collection the artist
Studio
Amalfi Coast
2013, watercolor 16 x 20 in.
Collection the artist
Studio
W
e all know how informative it can
be to compare plein air paintings The Mash-Up artists work on their can-
created by several individuals who vases in San Francisco.
set up their easels at the same location. The
subject matter of all the finished paintings is
roughly the same, so the individual techniques
and styles of each artist become more appar-
ent. But how much more instructive would
it be to have all those artists working on one
painting? That’s what six artists have been
doing once a month since January of this
year. They call their project a mash-up — a
term that’s usually applied to digital music and
website content when material is pulled from
various sources.
“We are all primarily studio painters but
have come together for this Mash-Up project
and have been painting plein air on a large scale
at different Bay Area locations,” says Kevin
Moore, one of the six participating artists and
a professor at the Academy of Art University in
San Francisco. “The idea came to me in early
December 2013, when I was considering ways
I could collaborate with other artists. As soon
as I formulated a plan, I immediately contacted
five artist friends to explain the idea and invited
them to participate. The project just took off
from there.” Those artists were Brett Amory,
David Choong Lee, Adam Forfant, Kim Froh-
sin, and John Wentz.
Moore explains, “Each new painting begins
when one of us takes responsibility for being the of working. Every scene is different, and some logistics include scouting locations around the
director for that month and finds a location and are more fragmented than others. We do try Bay Area, considering security, finding a con-
maps out a six-panel painting. He or she tells the to keep a general flow, but part of the fun in venient date, and providing reference material
others what section they will paint and provides doing this is seeing the differences from sec- for everyone. It was a lot of preparation work,
a photograph or drawing that is gridded to show tion to section. For instance, I might really like even down to the math of plotting out the
what part of the image should be painted on each a cast-shadow shape at 11 a.m., but the artist image on each canvas. Once everyone was busy
canvas. The director doesn’t actually draw on next to me paints the light at 2 p.m. So while painting, I felt a sense of relief and reward.”
anyone’s canvas except his or her own. the shadows might not align perfectly, they Moore notes, “Having a different direc-
“We typically set up at 10 a.m. and work create an interesting rhythm. tor each month does add variety to the series
until 4 or 5 p.m. Each person finishes at a Kim Frohsin says serving as director is of Mash-Up paintings. And then there are
different time, depending on the complexity of a challenging task. “I found it to be quite a individual styles of painting that become
the section they are painting and their method responsibility on many levels,” she says. “The evident when the six canvases are put together.
The June 2014 painting lies on the ground. The artists evaluate a Mash-Up painting in progress.
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sharon@sharondoylefineart.com | 561-309-0397
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Contact: Marty Brens DELTA URBAN FUNK WITH RANDALL Painting Cityscapes Plein Air with Bryan
Phone: 719.545.2795 SEXTON Mark Taylor; The Figure in Oil: In Studio
E-mail: info@artaspens.com SACRAMENTO, CA and Plein Air with Peggi Kroll-Roberts;
Website: www.artaspens.com Reflected Light and Foreign Color with Dan
This three-day plein air workshop is set in the Mieduch; Painting and Drawing the Horse
Sacramento Delta and is open to all levels. in Sunlight with Ned Jacob; The Heart of
KNOWLTON GALLERY WORKSHOPS Capture the unique flavor of some of the Landscape Painting with Joshua Clare. To
LODI, CA historic towns in the Delta region of Northern view more workshops and schedules, visit the
California, including Locke and Isleton. Stu- school’s website.
GETTING STARTED WITH PLEIN AIR dents will review basic techniques in plein air
WITH KATHLEEN DUNPHY painting and learn how to simplify the com- Phone: 800.333.5707
CALIFORNIA plex in an urban scene. Highly sought-after as Website: www.scottsdaleartschool.org
an instructor, Randall Sexton has a hands-on
Join Kathleen Dunphy for this Introduction approach to teaching that involves sharing his PAINT THE LIGHT-FILLED LANDSCAPE
to Plein Air class. On the first day of this technique and knowledge, yet focuses on the
three-day workshop, Kathleen will help you OF UMBRIA, ITALY
individual needs of each student. This popular UMBRIA, ITALY
understand what you need and what you workshop fills quickly!
really don’t need in order to comfortably and
Workshop Dates: October 10-12 Join instructor Becky Joy at La Romita Art
confidently paint en plein air. She will discuss
Cost: $400 School in Umbria, Italy. Feel more confident
the pros and cons of several different brands of
in plein air painting, then taking it to the
easels, brushes, paint, solvents, and mediums.
Contact: Robin Knowlton studio to use as reference. Fourteen fun-filled
Kathleen will also discuss the benefits of using
Phone: 209.368.5123 days of relaxing, learning, and absorbing the
a limited palette. Students will have the oppor-
E-mail: robin@knowltongallery.com sights and atmosphere of Italy. Build your
tunity to mix paint and discover the unlimited
Website: www.knowltongallery.com skills in composition, use of light and color,
possibilities for color using only a few tubes of
and brushwork to create paintings with your
paint. On days two and three, students get to
individual style.
try out their new gear on location. Kathleen
will demo and assist students with their paint- Workshop Dates: June 18-July 2, 2015
ings. Class includes time for questions and lots Website: www.beckyjoy.com/workshops
of one-on-one instruction.
tion. Th
Three-judge panel headed by Morgan show and teach a workshop October 29-31. with quotes from any John Steinbeck novel.
Samueel Price; includes museum curators. Visit Awards over $5,000; up to three digital im- Artworks from any region of the country can
our weebsite for registration information. ages. Members: $35; non-members: $40. be inspired by any quote, so artists can be
creative in interpreting this theme. Upcoming
Early Entry Bonus Deadline: September Entry Deadline: September 6 monthly workshops at CVA include Randall
18, 201
14 Exhibition Dates: November 1-30 Sexton, Thomas Kitts, Ray Roberts, Ruo
Entry Deadline: February 4, 2015 Opening Reception and Awards: Li, Lori Putnam, Mary Whyte, Charles
Event Dates: March 12-15, 2015 November 1 Muench, and Camille Przewodek.
Phonee: 561.746.3101 Contact: Darlene Johnson
E-maill: pleinair@lighthousearts.org Phone: 504.392.0215 Entry Deadline: September 15
Websitte: www.lighthousearts.org E-mail: darlenehjo
j hnson@ya
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DEGA
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NATIO
ONAL JURIED EXHIBITION THE HEART OF STEINBECK COUNTRY Website: www.carmelvisualarts.org
NEW ORLEANS, LA CARMEL, CA
Call foor entries for the Degas Pastel Society Carmel Visual Arts is holding an open call-
15th Biiennial National Juried Exhibition, for-entry competition along with a month-
being held November 1-30. The exhibition long exhibition in Carmel, CA. This event,
will be held in the Garden District Gallery in called “The Heart of Steinbeck Country,”
New Orleans. Margaret Dyer will judge the is an exhibition with artwork submitted
Coming in the
John Porter Lasater IV Debra Joy Groesser
October/November
2014 Issue of PleinAir
Magazine
In the next issue of PleinAir, artists will explain how
they compose and paint outdoor paintings in which
buildings are a strong focal point. We’ll also feature
the 19th-century French artist whom many consider
the greatest plein air painter of all time, Jean-Baptiste-
Camille Corot (1796-1875), and we will catch up
with artists who have been on the road all summer
competing in top events, including John Porter
Lasater IV, Mary Ann Davis, and Debra Joy Groesser.
We’ll cover all the big events and profile the painters
who can inspire and inform our readers.
125
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