26 minute read
Plein Air Events
The Day Ahead
2021, oil, 30 x 30 in. Collection the artist Studio from a plein air study
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students to take what you need and leave the rest, otherwise you are going to end up painting just like other people.”
Walker is aware of his continued growth as an artist. “I’ve spent the last couple of weeks thinking about what I am going to do next,” he says. “I always have something else going off to the side of my regular work, just for myself. I’ve been looking at reference photographs I took in Ireland, Scotland, and Italy. I pulled up old paintings from 2012 and cringed, but I’m also thinking I could do a lot better now. I passed on so many reference photos because I didn’t think I could tackle them. Now I think I can. My wife and I will retire in Ireland, if we can. As soon as I told her I was going to paint some scenes from our European trips, she started looking up rental properties over there,” Walker says with a chuckle.
Until then, the artist will continue with his plein air endeavors, for more reasons than one. “I started the plein air work to get out of my comfort zone and to meet people,” he says. “Otherwise, I am in my studio eight hours a day. People are like, ‘I’ve never heard of you.’ If I can’t travel the world, I can certainly drive around and paint with people — socially distanced, for now.”
BOB BAHR has written about visual art for various books and publications for 18 years. He lives and works in the Kansas City area.
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(CLOCKWISE FROM TOP LEFT) The Tasting
Room, 2021, oil, 18 x 24 in., private collection, plein air • Georgia Color Nocturne, 2020, oil, 12 x 9 in., private collection, plein air • Well Dam, 2019, oil, 6 x 9 in., available from Sharon Weiss Gallery, plein air • Lavender Falls, 2019, oil, 6 x 9 in., available from Sharon Weiss Gallery, plein air
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(CLOCKWISE FROM ABOVE) Past Shadows, 2018, oil, 24 x 30 in., collection the artist, studio • Still Standing, 2021, oil, 30 x 30 in., collection the artist, studio from plein air • Overtime, 2020, oil, 11 x 14 in., available from Two Sisters Gallery, Columbus, GA, studio • The Reunion, 2021, oil, 18 x 36 in., available from Two Sisters Gallery, Columbus, GA, studio from plein air
CAPE COD NATIONAL SEASHORE CELEBRATES 60 YEARS
Jonathan McPhillips, Mary Giammarino, Rosalie Nadeau, and Joe McGurl share their unique viewpoints on this popular East Coast destination.
——— BY KELLY KANE ———
On August 7, 1961, President John F. Kennedy signed a bill authorizing the establishment of Cape Cod National Seashore. A longtime summer resident of the Cape, J.F.K. had co-sponsored the legislation while in the Senate. The goal, he wrote, was “to preserve the natural and historic values of a portion of Cape Cod for the inspiration and enjoyment of people all over the United States.” Part of the Atlantic coastal pine barrens ecoregion, the Seashore features beautiful beachfront, woods, and coastal plain ponds. Today it encompasses more than 43,000 acres and draws over 4 million visitors a year.
JONATHAN MCPHILLIPS
Endless Narrative Options
The golden light of Cape Cod, particularly the Outer Cape, casts a unique glow on the landscape. As the Cape stretches far into the Atlantic Ocean, the salty mist in the air refracts the light and excites the senses.
Over the winter months, the weather can change the landscape completely. Going back in the spring, I often find the docks and coastal buildings in various states of disrepair, adding new vibrancy to familiar painting locations.
In the summer, the Cape gets busy, so it’s a good idea to plan your travel to painting sites in advance. Consult maps and online directions before you head out. You may also want to check in with local museums, galleries, or community art centers to get firsthand tips and inspiration. For me, the variety of buildings and boats — both recreational and vocational — provides endless narrative options for paintings. Just about any harbor on Cape Cod suits me just fine.
No matter when you go, just be prepared for the quickly changing weather. Make sure there’s cover nearby or you have materials on hand to protect you from the sun and the occasional shower. Once you’re there, I guarantee it’ll be hard to leave. There is so much to explore and absorb.
Dockside
2021, oil, 10 x 8 in. Available from Addison Art Gallery, Orleans, MA Plein air
MARY GIAMMARINO
Ever-Changing Ecosystem
When the government established the Cape Cod National Seashore, they preserved a glorious, fragile, and ever-changing ecosystem. Over the past 60 years, it has attracted a certain kind of person, including countless artists, who appreciate the lifestyle and unique landscape it provides. The local community works with the environment and helps protect it.
There are so many varied landscapes within a short distance of each other, all surrounded by reflective and beautiful bodies of water. I’ve been returning to Provincetown to paint and study the Cape light every spring since 1989. I also like to go in late fall to paint street scenes when the crowds are gone.
The greatest challenge is finding a place to park. If you don’t have a resident sticker, you’ll find parking difficult and expensive. I recommend staying someplace like Provincetown, where parking is included and it’s a short distance to great painting spots.
mary-painting.com
Sound Not Included
2020, oil, 14 x 11 in. Available from Four Eleven Gallery, Provincetown, MA Plein air (TOP) Race Point, 2020, oil, 14 x 11 in., available from Four Eleven Gallery, Provincetown, MA, plein air • (ABOVE RIGHT) This Morning, 2021, oil, 16 x 20 in., available from Four Eleven Gallery, Provincetown, MA, plein air
(ABOVE) Basket’s Not Full, 2021, oil, 16 x 12 in., available from Tree’s Place Gallery, plein air • (ABOVE RIGHT) Tonset Boathouse Reflection, 2020, oil, 12 x 16 in., available from Tree’s Place Gallery, plein air
ROSALIE NADEAU
From the Water’s Edge
Flying low over the Cape in a small airplane, I had the sensation of water covering the narrow strip of land as it formed long ago. Gentle hills appeared to be an extension of the sandbars and rolling dunes; water snaked through the landscape. This sense of place has stayed with me and impacts how I relate to the landscape in my work today.
Surrounded by water and without mountains or other large features, the landscape offers little in terms of scale or linear perspective. The rich moisture in the air, however, contributes to the aerial, or atmospheric, perspective, creating the illusion of distance and unique light effects. I love to paint the shoreline along the varied waterways — the ocean, bay, ponds, rivers, and creeks. From the water’s edge, I observe many contrasting colors I can use for depicting the light. Painting sandbars as they are revealed by the ebbing tide is another way one can create a sense of depth.
The climate here is generally mild, making plein air possible any time of year. With varied water views accessible, there are always great subjects to paint — even in the winter, when the marsh grasses glow in golden contrast to the jewel tones of the water, which in turn reflects the cool hues of the sky.
If you want to keep your feet dry, however, it’s important to check the tides, as they can change from low to high during a single painting session. Another thing to consider is the wind, which in winter can be brutal. The good news is that it’s always possible to find a lee or other comfortable spot to set up with a water view. I use the Take It Easel, which is extremely stable on uneven terrain, mostly because its legs are easily adjustable and it has a wide leg-span. These are especially important traits in Cape Cod, where the ground is rough and slopes toward the water.
If you go during the busy summer season, know that many towns require parking permits at beaches and boat landings. In 1970, the National Seashore acquired much of the ocean side and offers temporary parking permits.
Field Study, Cranberry Bog Pumphouse
2015, oil, 6 x 8 in. Private collection Plein air
JOE McGURL
A Sense of Light and Space
There are many aspects of Cape Cod that make it a great place to paint. Predominant are the colors of the landscape set against the sea, which often create a brilliant effect throughout the day. The beauty of the area attracted Charles Hawthorne to Provincetown, where he established the Cape Cod School of Art. The famous colorist Henry Hensche was a teacher there, and his theories and approaches to interpreting color have influenced generations of artists to this day.
The most unique aspect of scenery on Cape Cod is the sense of light and space. There aren’t the dramatic vistas you find out West. The landscape is fairly flat, so you have a full view of the sky. At the shoreline, you can see to the horizon across the sea, over the marsh, along the beach, or on top of a sand dune. And whereas the city or forest can seem claustrophobic, the Cape feels open and spacious. But the Cape has more intimate scenes as well — harbors with marinas and boats, quaint villages, cranberry bogs, and winding lanes.
I think the Buzzards Bay side of the Cape is the most interesting area. There are numerous harbors, inlets, and peninsulas to paint from, and the shoreline is varied. It’s also less developed than other parts of the Cape. As it faces west, the sunsets are great, and there are several spots from which to paint them. Access is good, particularly in the off-season when they don’t enforce town parking regulations. Quisset Harbor has good access and a classic boatyard, and at the mouth of the harbor is a peninsula with a walking trail that leads to a promontory overlooking Buzzards Bay. Woods Hole is also great for its maritime activity, the famous Woods Hole Oceanographic Institute, and a classic lighthouse. The beaches on the Outer Cape offer miles of sand dunes and views of the Atlantic, as well as large marshlands.
My favorite place for painting, however, is Squeteague Harbor. I like it because it’s where I live, and I can row or walk to several spots to paint.
Field Study, Winter Afternoon
2021, oil, 9 x 12 in. Private collection Plein air
Field Study, The Outermost House
2020, oil, 9 x 12 in. Private collection Plein air
It has a barrier island, which is conservation land on one side and is great to walk around and paint in any direction. In the afternoon, Buzzards Bay can get quite windy, and the island blocks the wind and waves from the west. The view from the shoreline provides beautiful sunsets across the bay or toward the picturesque harbor and there’s a sandy beach, rocky beach, and marshy section.
I especially like painting on Cape Cod in late summer and early fall. The greens are a beautiful deep shade, and the goldenrod and Queen Anne’s lace are out, providing a nice contrast. The sumac has turned a bright red, and there are also shades of yellow and brown in the marshes and shoreline foliage. In the summer, crowds can be a problem in some areas, but by September they’ve thinned out and parking is no longer an issue. The sun is also lower throughout the day and it casts longer shadows, which can make for better compositions. The light is usually crisp and clear, and the temperature is perfect for spending the day outdoors.
One of the challenges of painting on Cape Cod is that there are so many horizontal shapes, it can be difficult to find a good composition. The scenery is beautiful, but beautiful scenery isn’t all that’s needed to make a good painting subject. Oftentimes, I’ll add something to the composition that may be out of my view but would fit in with what I’m painting. It may be a tree, a piling on the shore, a telephone pole, or an osprey stand — just something vertical to counter all the horizontals. Another solution is to include more of the foreground, as there tend to be more vertical or diagonal shapes closer to your vantage point. Also, the weather is constantly changing — you may start a sunny painting in the morning and a short time later the clouds move in. I always look at the forecast and take note of which direction the clouds are moving. The tides are also something to consider; over the course of a few hours, the shoreline will change.
Expanded Digital Edition Content
(CLOCKWISE) Repairing the Outrigger, Jonathan McPhillips, 2021, oil, 9 x 12 in., available from Addison Art Gallery, Orleans, MA, plein air • Headquarters, Jonathan McPhillips, 2021, oil, 9 x 12 in., available from Addison Art Gallery, Orleans, MA, plein air and studio • In the Right Place, Jonathan McPhillips, 2020, oil, 12 x 9 in., private collection, plein air and studio • Seashore Break, Jonathan McPhillips, 2020, oil, 9 x 12 in., private collection, plein air and studio
Expanded Digital Edition Content
(CLOCKWISE) Blossom, Mary Giammarino, 2021, oil, 20 x 16 in., available from Four Eleven Gallery, Provincetown, MA, plein air • Crunch, Mary Giammarino, 2020, oil, 20 x 24 in., available from Four Eleven Gallery, Provincetown, MA, plein air • Tonset Rock — Late Light, Rosalie Nadeau, 2018, oil, 24 x 36 in., private collection, plein air and studio • Impending Storm, 2021, oil, 12 x 16 in., available from artist, plein air
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Pamet Cloud Break
Rosalie Nadeau 2018, oil, 20 x 30 in. Private collection Plein air and studio
Field Study of a Rock
Joe McGurl 2018, oil, 9 x 12 in. Private collection Plein air
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THE BEST TIME TO VISIT
“I would suggest coming in the off season, which is September through mid-June,” says Joe McGurl. “It’s quieter, parking is easier, and hotels are cheaper. If you are able, adjust your trip to the weather reports, as we can get a few rainy days in a row. Maybe use Google Earth to check out some areas that seem interesting, then go on a Cape Cod Facebook page to ask any questions you may have. People may even give you suggestions about where to paint. And be sure to bring bug spray and sunblock. If it’s calm in the evening, the gnats can be a nuisance.”
The Red Boat
Joe McGurl 2019, oil, 16 x 12 in. Private collection Studio
The Blue Boat
Joe McGurl 2020, oil, 16 x 20 in. Private collection Studio
Joe McGurl painting from his dinghy
FIRST THINGS FIRST
When confronted with a vast, complex landscape, the secret to a good composition often comes down to a simple thumbnail sketch. Follow along as this artist demonstrates how to start a painting off right, even when time is against you. ——— BY LISA MOZZINI-MCDILL ———
Before I ever painted, I sketched. As a young girl, I drew people over and over again, trying to capture their likenesses. As with anything, practice improved my ability and accuracy. But it wasn’t until I studied graphic design in college that I learned how to use thumbnail sketches to work out my designs. Later, when I started taking plein air workshops, I discovered the importance of simplifying, having a focal point, and concentrating on value. Still, arriving at a beautiful location to paint can be overwhelming; there’s so much to look at. At times, I’ve been guilty of jumping right in because I’m excited and the light is changing fast. However, this often leads to my spending more time wiping off and starting over, or worse, noticing a fatal flaw once I’ve finished. Taking the extra few minutes to walk around, find the scene that most attracts me, and plan my painting always saves me time in the long run. I start with thumbnail sketches to simplify what I see and narrow down my choices based on what will make a good composition. I look for shapes and shadow patterns that make a good composition, and identify the element that most attracts me to use as my focal point. These quick sketches are not meant to be masterpieces. They are often messy but lead to a further refinement of the elements I’ll use in my painting. I try out different orientations to see if a square or a vertical composition will enhance the design. If I’m most drawn to the sky and clouds, I devote more real estate in my sketches to that area. Once I’ve done a few thumbnails, I have a better idea of what will work. From there, I can make a bigger and more refined sketch if needed.
Arbor sketch
Arbor
2019, oil, 10 x 8 in. Available from Huse Skelly Gallery Plein air
Just because you know the local color of an object is white doesn’t mean it appears white, especially where it’s in shade. In this case, the dark background helped me to simplify the scene and put the focus on what I was really interested in painting — the shadow colors on the white fence. I especially enjoyed adding the reflected warm light inside the top of the arbor.
THE VALUE OF THE VALUE SKETCH
A value sketch (“value” simply refers to how light or dark something is) allows you to see the abstract design of the scene. When the light changes, it can help you remember the shadow patterns you saw when you started. Values are important because colors can fool you into thinking something is darker or lighter than it appears, but if you get the values correct, the painting will still “read” even if you change the colors. Because we are trying to make a two-dimensional surface appear threedimensional, we need to describe the way light falls across surfaces, creating the illusion of form. Getting the correct value relationships is key to doing this.
For my value sketches, I prefer Micron pens and Winsor & Newton Promarker brush markers. I’ve tried pencil, but I find the drawing often gets smudged while being carried around. I recommend using only three or four values of gray. Fewer values helps simplify the sketch and makes it easier to quickly capture the scene. Plus, you don’t want to be juggling too many pens when using the brush markers. Sketching for plein air painting is more about shapes, value, and design than a beautiful linear drawing.
Because value is so important, I also do a tonal underpainting, which I consider part of the drawing process. I re-create my thumbnail design in oils on my canvas to make sure my drawing and values are correct when I begin to paint. Because no amount of detail will save me if the big shapes are off, I block in those first. With this process, it’s easy to move things around before committing to a composition with thick paint. If the underpainting isn’t working, I can wipe it out easily with some Gamsol and a paper towel and start over. The Gamsol or mineral spirits dry quickly and allow for the thicker layers of color to be added on top without becoming muddy. Once I’m happy with the underpainting, I can quickly paint in the colors, keeping to the values and design I established.
DEMONSTRATION: Crafting a Compelling Composition
A view of the scene
I first walk around a location and take photos of possible subjects. I use the small viewfinder on my cell phone to help narrow down my choices. On this visit to the Mission San Juan Capistrano, I am drawn to a bright red flower framed by the backlit arch.
Step 1
With my subject selected, I make a few quick thumbnail sketches to explore different compositions and orientations, eliminating anything that isn’t necessary for what I want to say in the painting. I like the square format because it emphasizes the arch and flower while keeping the dynamic lines that lead the eye there.
Step 2
I use a light marker to begin a more detailed drawing. Once the lines are where I want them, I can go over them with a darker pen. When using a Micron marker, I use less pressure and turn the pen sideways to make light marks. You can see my two-point perspective lines extending outside the frame. I also have the approximate golden mean hash marks outside the frame to help guide me with my placement of the shapes.
Step 3
I finish the three-value sketch using brush markers in numbers 2, 3, and, 5. I will refer to this sketch often as I paint to make sure I maintain the light and shadow pattern I saw at the start.
Step 4
I now tone the entire panel with cadmium red light, titanium white, and Indian yellow thinned with Gamsol. I call this the “finger painting” part of the process, since I use a paper towel wrapped around my finger to wipe the lightest lights back to the white of the canvas. At this stage, I am simply placing the big shapes. Depending on the light on a given day, I change the color I use to tone the surface. If it had been a foggy, cool day, I would have used a cooler red like alizarin crimson with some ultramarine blue.
LISA MOZZINI-MCDILL makes a quick sketch on location.
lisamozzini-mcdill.com
At the Mission
2021, oil, 12 x 12 in. Private collection Plein air
Step 5
To create a tonal value sketch on my panel, I use three colors: transparent red oxide or burnt sienna, French ultramarine blue, and titanium white. The three colors thinned with Gamsol create a neutral gray. Using just the blue and brown creates a black. I start with a mid-gray to draw my design. I use these colors because I can create a cooler gray with more blue and a warmer gray with more brown. While value is the most important element at this stage, I may also start thinking about warm and cool colors.
Final Step
After blocking in the big shapes in color, I add the details. You can see the light has changed a lot in just a few hours, but I have stuck to the plan I set out in the sketch.
Morro Beach Station, 2018, oil, 8 x 16 in., available from artist, plein air
For this piece, I was attracted to the contrast of the cool hillside in shadow against the warm sand. The lit underside of the station awning made for a good focal point. The teal of the water leads the eye to the teal station, as do the tracks in the sand. Morro Beach Station sketch My sketching supplies
Christianos
2018, oil, 9 x 12 in. Private collection Plein air
I had scouted this scene at the Paint San Clemente competition the year before. I was attracted to the beautiful eucalyptus tree and noted the great back light. Little did I know that this was a popular spot for trucks to park and take a break. At least three stopped and blocked my view during this painting. Luckily, most of the drivers were nice enough to move once I explained what
I was doing. My value sketch proved invaluable, because by the time I finished painting, the light Detail of bottom sectionhad changed significantly.
JUDGE’S PICKS
Jean Stern, Director Emeritus of the Irvine Museum, names the prizewinning paintings in the April competition.
Third Place: Calm Afternoon at Mendocino Point (oil, 12 x 16 in.) by Scott Anthony (LEFT) First Place: Monterey Wharf #2 — Calm Waters (oil, 30 x 30 in.) by Mark Farina
(BELOW) Second Place: Meet-up at Barnies in Winter Park (oil, 16 x 20 in.) by Morgan Samuel Price
People’s Choice Award: Sun Dapples
(oil, 24 x 14 in.) by Daniel Guentchev
Nocturne, Sunrise, Sunset: Dreaming of D.C.
(oil, 24 x 30 in.) by Kim VanDerHoek
Figure & Portrait: A Day Like Any Other (oil, 24 x 18 in.) by Nicole Moné
Oil: Catalyst (oil, 20 x 16 in.) by Jennifer McChristian Water: Monterey Harbor Morning (oil, 9 x 12 in.) by Bob Upton
Watercolor & Gouache: Bushido (watercolor, 32 x 24 in.) by Kim Minichiello
Floral: Bougainvillea (oil, 16 x 20 in.) by Patricia Mabie Pastel: Mountain Fork River Rhythms (pastel, 12 x 9 in.) by Greg Stone
Acrylic: Market Street Lights (acrylic, 8 x 8 in.) by Gil Sambrano
Outdoor Still Life: Low Country Boil (oil, 16 x 20 in.) by Suzie Baker
Drawing: Memories of Light (pencil, 16 1/2 x 23 1/3 in.) by Milno Atelier
Animal & Bird: Tres Amigos (oil, 24 x 30 in.) by Laurie Kersey
Plein Air Only: Feels Like Home (oil, 12 x 12 in.) by Elizabeth Pollie Artist Over 65: Inner Peace (oil, 11 x 14 in.) by Ellen Gavin
Western: The Crossing (oil, 14 x 11 in.) by Laurie Kersey Landscape: Looking West (oil, 24 x 18 in.) by Jane Hunt
Building: The Light on the Hill (oil, 11 x 14 in.) by Bob Upton
Artist Under 30: Last Minute (oil, 24 x 48 in.) by Colter May
Vehicle: Red’s Coupe (oil, 14 x 18 in.) by Steve Wohler
TOP OF CLASS
Jane Bell Meyer, founder of Illume Gallery of Fine Art, gives high marks to these paintings from the May competition.
First Place: Morning Shadows at Pt. Lobos (oil, 24 x 36 in.) by Brian Blood
People’s Choice Award: And Magnificently We
Will Flow Into the Mystic (acrylic, 30 x 30 in.) by Philippe Giroux
Second Place: Mother (oil, 20 x 30 in.) by Kathie Odom Third Place: Fading Light (oil, 30 x 30 in.) by Richard Boyer
Floral: Spring With Apple Blossoms (oil, 9 x 16 in.) by Kathy Anderson
Artist Over 65: Winter River (oil, 24 x 24 in.) by John Caggiano
Animal & Bird: My Friend’s Cat (oil, 12 x 16 in.) by Ming Luke Drawing: Texas (charcoal, 24 x 24 in.) by Lon Brauer
Building: Homage (oil, 24 x 18 in.) by Philippe Gandiol Acrylic: Sandycove Dublin (acrylic, 10 x 14 in.) by Steve Browning
Landscape: West of Town (oil, 24 x 18 in.) by Jane Hunt
Figure & Portrait: Serious Business at Cadboro
Bay (oil, 16 x 20 in.) by Renee Brettler
