D Bottini - a quick look at landscape painting

First I laid-­‐in a saturated red orange ground on canvas …. Why? What are reasons for a “ground”? What would mo>vate my color choice?

Whenever I approach a pain>ng, I will first do some sketches – these might be loose, quick line doodles, paint studies, or value studies.

You need to test and inves>gate what ways help YOUR process.

You want to become familiar, intrigued, and involved with your subject prior to diving into a pain>ng.

Working small is a par>cular pleasure … small pain>ngs can posses a great deal of weight and “content”. OKen I use small pain>ngs as part of an itera>ve process …

Steps toward a deeper understanding of the subject and my inves>ga>on of that subject.

A few contemporary ar>sts worth no>ng …

Bato Dugarzhapov … luscious impasto, loose gesture, a sense of immediacy and physicality.

Paint as poe>c expression?

Henri Lorenzi – studio ar>st – Semi-­‐abstract – flaRens pictorial Illusion … what effect? How would You describe this?

Loose “Plein Air” Yuri Pysar – what does the Brushwork and color paleRe convey?

Swedish Ar>st – 19th Cent. Al Klint – she was primarily a studio ar>st – Sweden admiRed Woman to study in art school earlier than other western countries.

Canadian ar>st, Emily Carr. -­‐ When an ar>st pulls a viewer into her/his experience and uses the elements and principles of design as tools to craK a viewers viewpoint/ experience …

“Subjec>ve Content” What does her “subjec>ve content” add to the pain>ng?

Current small study underway

A quick summary:

• Wander, L O O K at what surrounds you. Note the light, atmospheric effects, colors, value range, etc.

• Try to do some loose doodles and take many photos – not necessarily as • Photos to copy, but photos as reference, to remind and record the effects of the place that captured your interest.

• Work on studies … sketches, value studies, color sketches, as a way to become involved with the subject.

• Do you want to push farther? SomeJmes I decide there was not enough “there” to invest more energy.

• Prime a few small canvas boards or stretched canvesses. Add an interesJng “ground” … think about the effect you seek.

• Work through one or two small painJngs … experiment with brushwork and approach.

• Are you primed for more? Ready to dive into a larger painJng?