"Painting Vistas"

"Work in progress", 18x24 oil on linen

I had a recent conversation about landscape painting, and the topic of Vistas came up.  I have never really chosen to paint vistas.  I seem to be more attracted to the intimate in nature.  The more heroic panoramic type of scenes somehow always got overlooked by me. …I don’t know why that is.  Maybe it is the lack of confidence that I could pull off something that beautiful in a painting.  This summer I was exposed to some of the most magnificent vistas in Maine.  The mountain tops in Acadia national park are breathtaking to say the least.  I have so much reference from that trip.   I decided to give them a try.  This is my first official Vista painting.  I don’t want it to fall into the pretty, postcard of Acadia Park genre….hopefully!  I will do a couple more after this one is finished, and who knows…..if I don’t hate them, they may develop into another subject that I can enjoy painting. 

"Starting with a definite plan, but sometimes just letting go!"

"Untitled", 18x24 oil on linen

It has been my experience that having a plan of some sort when starting a painting produces more consistent results.  Over the years, I have learned that intention is an integral part of success….or at least elevates the potential for a painting to be successful.  This is not to say that one should not just let it fly and experiment occasionally.  I think this can produce discoveries that might not otherwise be revealed by practicing only the tried and proven.  The scenario that seems to work best for me is to start with an idea, or plan of what a work might be in the end, and during the process remain open to the possibilities along the way.  That keeps the door open for changes and hopefully an occasional improvement on the original idea.  There are of course never guarantees of success when starting….only hopeful optimism. I don’t necessarily agree that the end justifies the means, because I enjoy the process so much….I would not embrace a method that was not fun for me personally just because it was expedient.  This pertains mostly to studio painting where one has time to ponder and play around with things.  This is the thing I like about studio painting. 
The more immediate interpretations that I capture on location in field studies, or from life are somewhat different….for me personally.  Aside from the obvious benefit of practicing painting from life, in these situations I never have time to do much except race to try and capture something that is fleeting….like the changing light, or an expression on the model’s face, things that constantly change, etc.  I can only speak for myself…of course!

Step 1.

Step 2.

Step 3.

"Off the Beaten Path" 12x16 oil on linen

It is sometimes fun and interesting to start with a rather undefined end game, and just see what happens.  The painting “Off the Beaten Path”, 12x16 oil on linen is sort of an example of that.  I started this with a vague road map of shapes that left me openings to change easily by not being married to a more resolved drawing, or specifically defined shapes that can sometimes become to precious to change.  On the other hand, “Memories of Summer” 18x24 oil on linen, as one can see in the easel photo with the monitor….I did not depart from the original idea except to open up some of the inky shadows in the reference caused by the camera, and add a few seagulls.  The information in a digital shot is great, but the experience of painting from life allows me to correct the deficiency in a photo. 

"Memories of Summer", 18x24 oil on linen, on the easel

I guess this goes to the discussion about how to start a painting in different ways, and how that keeps one from relying on formulas in one’s approach to painting.  I find that some students seem to want formulas, or quick solutions, rather than be willing to make some of the discoveries themselves by putting in the time experimenting on their own.  This is getting into another topic….for another post.  Until next time, thanks again for listening to my ramblings.    

Maine Summer Trip Field Studies, 2013.

Well, we just returned from our annual summer trip to Maine.  It was, as usual, a welcome change from Florida’s summer heat, and always much fun.  We visited with Marilyn’s relatives in the Portland area, and attended a family reunion at a beautiful park near Brunswick Me.  I painted one small painting at Willard beach….below.

 Painting at Willard Beach in South Portland Maine.  A 9x12 Field study, oil on linen Panel

 Most of our time was spent in Port Clyde, where we shared a large, old Craftsman style house with artist’s friends, Mary Erickson, Roger Dale Brown, Beverly Ford Evans, Daniel Ambrose and Mary Burns Stevens.  The first week was spent with Mary Erickson, Millie, Gloria and Karen Hagan.  We painted, explored the area, and sat around a large dinner table each night and had great conversation about art and other experiences.  If you have never tried this type of vacation, I would recommend it highly.  Of course, someone has to organize these get-togethers!   Mary Erickson is the organizer in this group.

We took a day trip to Acadia national park with Roger Dale Brown and Beverly Ford Evans, and their two little dogs Buddy and Rachel.  This was a great photo opportunity and we did one painting in the park.  Marilyn and I stood on the same spot we visited on Cadillac Mt. forty seven years ago.  The vistas were breathtaking.  I think the last time I visited this place; I was too young to appreciate what I was experiencing.   Roger and Beverly are really great folks and fine artists.  This is our second year sharing a house with them, and we got to know them better.  I’m sorry that we won’t be in Maine in September for Roger’s show at the Haynes Gallery in Thomaston Maine……should be a good one!  I saw some of the paintings in the flesh, and they are really great…..this Roger fellow can paint!

Pond at Acadia National park.  9x12 oil on linen

 I painted the pond alongside Roger and Beverly.  This was really a fun day!

Below are just a few of the locations that I painted this summer.  Photos as usual, are courtesy of my wife Marilyn.  Were it not for her following me around unselfishly documenting everything…..good and bad, I would have no digital material for things like this blog.  Thank you Marilyn…..you are the greatest!  Thanks for listening to my Cajun ramblings!

Rock Study at Marshall Point Lighthouse in Port Clyde.  This a 11x14 oil on linen Field study.

A great afternoon at Marshall Point Lighthouse.

This is the Fisherman's Cabin from across the water at low tide in Port Clyde.  This is one of the easel setups I used this summer.  The untitled painting is a 9x12 oil on linen panel.

On Co-Op road in Port Clyde.  12x9 oil on linen field study.

I painted "Lonesome Birch" 12x12 oil on linen on the side of the road on the way to Port Clyde. 

"Lonesome Birch", 12x12 Field study, oil on linen panel

Painting Duck Pond on horse point road in Port Clyde.

"Duck Pond", 16x12 field study, oil on linen panel.