Plein-Air Painting - The Freedom of Speed
Whether they were the French impressionists in search of light, or the Group of Seven who explored the power of the Canadian Landscape, or my artist friends and colleagues today, I have always admired plein-air painters for their ability to capture the essence of a scene with relative speed and in all kinds of weather. And there are few who cannot stand in awe of the immediacy and power boards painted by Tom Thomson, in my opinion the "king" of plein-air painters.
That said, I have never made a serious attempt until recently to paint outside my studio, where I have the luxury of time and a ton of materials to engage in a painting. And now, having started to make the attempt, I realize (what my plein-air enthusiast friends already know) that there are many decisions to be made long before heading out into the field. What to take? What to leave behind?
My first attempts were made on a trip to Arizona in January (2013), where my friend, Ted Yao, a committed plein-air painter, invited me to accompany him and his friends to a location in the Tonto National Forest near Phoenix. All I had with me was a set of pan pastels, a charcoal pencil and a small pad of pastel paper. Despite the early dawn chill, I completed a couple of sketches and took many photographs.
That said, I have never made a serious attempt until recently to paint outside my studio, where I have the luxury of time and a ton of materials to engage in a painting. And now, having started to make the attempt, I realize (what my plein-air enthusiast friends already know) that there are many decisions to be made long before heading out into the field. What to take? What to leave behind?
My first attempts were made on a trip to Arizona in January (2013), where my friend, Ted Yao, a committed plein-air painter, invited me to accompany him and his friends to a location in the Tonto National Forest near Phoenix. All I had with me was a set of pan pastels, a charcoal pencil and a small pad of pastel paper. Despite the early dawn chill, I completed a couple of sketches and took many photographs.
At the end of June (2013) I found myself in Haliburton with a week to amuse myself while Susan was on a course. I planned to spend the week painting outside at the Gull River (one of my favourite spots) and brought along a selection of oil paints and brushes, a portable easel, a drawing board and a box of Rembrandt pastels plus assorted surfaces. I admit I found the experience to be a more than a bit challenging - especially the morning when the heavens decided to open and dump a whole lot of water, just as I was beginning to paint. I like painting in oils, but still haven't got it right in terms of packing wet paintings or drying medium. Pastels were great, but not very friendly to spitting rain. But I am encouraged, and will continue to experiment.
The week's production is shown below.....
The week's production is shown below.....
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