Lake Como painting progression

I am working on putting together a video post, but I have to get my 9 year old to help me with some of the technical side first.😅 So today I am relying on the good old fashioned blog post, sharing a step-by-step painting in progress.

I had such a good time with my last Lake Como Painting that thought I’d “laissez les bons temps roule,” (as the Cajun in me likes to say.) I chose a scene in Varenna from my photo archives, one of my favorite memories that now feels like both yesterday and a long time ago. I chose one of my favorite canvas sizes, a 24x30”, and a color scheme of jewel tones that always cheers me up.

My starting approach for the last year or so is to just very casually sketch out my composition lightly in sienna oil pastel. The Sennlier oil pastel is so soft and lovely that it erases my change of mind with a very low stain, and yet allows me to indicate some shading at the same time.

Once I am more or less satisfied with my composition, I begin laying in some of the shadow areas of my painting, to get a feeling for the overall value pattern of my painting.

I am generally trying to keep things very broad as I lay down the initial color. While not all of the water is “in shadow”, I decided to lay in the general color because I felt it would help me make a decision about the composition ( as you will see in the next photo.)

My initial idea was to include the foreground shoreline with a couple of rowboats, but at the same time I wanted to keep the distant horizon below the middle point, which pushed the shoreline down. After laying in the water I decided the shoreline wasn’t really doing much for me or the composition.

This is better, I think. Even working from photos in the studio, there is still a lot of decision making that goes into the process. You don’t have to be a slave to a photo and paint something in, just because it’s there in the reference. This is my painting, after all, and sometimes the best thing I can do for my work is to simplify. There may be a future painting with the shoreline boats as the feature, you never know, but sometimes it’s better to say one thing with clarity than several things with confusion.

At this point it was time to step away and make dinner, but I felt like I was at a good stopping point so this is where I left off last evening. I will still need to address the rest of that white canvas and make additional adjustments to the water and boats , but now I have a pretty solid idea of where I’m going next.

An Evening at the Boatyard

This painting was a little difficult to photograph due to the contrast in the subject and the thick texture in the paint. But I ultimately succeeded in capturing a good shot on a flat and cloudy day when it wasn’t too dark or too blaringly bright outside. Hopefully the energy I felt in returning to the easel shines through in the piece.

“Evening at the Boatyard”, Oil on linen, 20 x 24” ©Jennifer E Young

I have been looking at a lot of art lately and painting a few lemons in between (both literally and figuratively😅.) As a result I feel compelled to express myself in a way that is not so literal. I don’t know how far out into the world of abstraction I want to venture, but I do feel the pull to simplify in the very least. What’s enough but not too much? That’s the question. I haven’t found the answer yet, at least not in my own work, but it’s something very much on my mind. It will probably take many more paintings (and quite a few more lemons) before I even come close to an answer.

"Plein Air Unleashed"

Last week I posted about a planned trip to White Stone, VA to paint with fellow artists in a relatively new plein air painting festival called Plein Air Unleashed. There were ten of us artists at this year's event, which spanned over a period of three days. 52 paintings were turned in to Allure Art Center at the culmination, to be displayed at the gallery during the month of May.  This is a fairly newly minted event, so it was pretty relaxed and low-key, which was fine by me as I always feel a bit rusty in the spring after my winter hibernation in the studio. 

This was my collection of paintings turned in at the end of the event.

White Stone is less than two hours from where I live, but I have never been to this area, nor anywhere in the Northern Neck. It's really quite a treat for plein air painters like me. The Northern Neck is the northernmost peninsula in Virginia. White Stone, Irvington, and Kilmarnock, where we painted sit at the southern end, where the Rappahanock meets the Chesapeake Bay. The area consists of small beaches, wetlands, marinas, farms, vineyards, and wineries, so there is a wide variety of subject matter to paint, with some really beautiful light and cloud formations from being that it is surrounded by so much water.

In all, I painted 8 pieces and turned in 7 (with one being a tosser). I can sometimes feel stressed by the more competitive events, but this festival was invigorating. It was great to be around other fine caliber painters and to just be able to submerge myself in nothing but painting for a few dedicated days. Here are a few on site photos of works-in-progress:

I felt fortunate to have stumbled on the info about this event through my friend Kim Hall, and hope to return next year. Here are most of the paintings I submitted for the show. I wish I had time to get a terrific record of the artwork submitted, but these photographs will have to do for now. 

"Afternoon at Hughlett Point", oil on linen, 11x14"

"Cloud Drift", Oil on linen, 9x12"

"Two Pines, Hughlett Point", Oil on linen, 12x16"

"Ready for Summer", Oil on linen, 12x12"

"Springtime at Windmill Point", Oil on linen, 12x12"

"Wind on the Marsh", Oil on linen, 12x16"

The exhibit at Allure Art Center will run through May 26th. The gallery is going to be posting highlights from the event and artists on its Facebook page, so even if you are nowhere near White Stone, you can get a taste of the event online. 

VIDEO- Art Talk; A Maine Experience

Happy Fall everyone! I have spent so much time traveling and painting this summer that I have hardly had any time to post except on the fly on social media. So these next few posts may actually be a bit of a summer recap. First up, Maine. As you may have read here and on social media, I spent a couple of delicious weeks in June painting the Maine Coast during an artist's residency on the island of Vinalhaven. 

Gallery Flux was kind enough to have hosted a pop-up exhibit of my work for this trip, as well as an artist's talk about my experience painting there. Even though it was a nice and intimate setting, I'm not all that comfortable with public speaking, but I actually had a good time, and the attendees were all very gracious and patient. Thank you to Gallery Flux for hosting me and making this little film. 

The paintings in this exhibit represent my impressions and experiences from the island of Vinalhaven, Maine, where I was fortunate to have spent a fortnight in June as an artist-in-residence. This video, taken at Gallery Flux in Ashland, Virginia is an artist's talk I gave in conjunction with my September show featuring paintings from my residency.  

So many paintings, so little time!

Going through my notebooks and photos from my Maine trip, I'm made aware of just how many paintings I have swirling around in my  consciousness, and never enough time to execute them all. I guess it's better than the alternative of a dry spell, but only slightly less frustrating.  

The reality is that I'm a mom with a family and a household and a very busy summer on top of it., and since my return from the trip I have had to work in fits and starts, and not without some failure. Still, I do what I can to make time for art. Here's my latest, which was first attempted on site but had to be aborted when the wind turned my painting into a virtual kite! 

"Evening at Carver's Harbor", Oil on linen, 16x20" ©Jennifer E Young

Those boxy shapes you see are lobster cages. They are kind of an iconic symbol to me of this town. Vinalhaven once had its heyday as an island for quarry mining, but workers later turned to lobster fishing for their livelihood. The sun rises at 4:30 a.m., so I was told the fishermen are up by 3:30! Now that's dedication. A far sight more dedicated than I was on the evening I attempted to paint this scene. After my painting did a face plant there was nothing left to do but resign myself to the realities of the wind and eat a delicious lobster roll as consolation.

I have another Maine piece on the easel that I'm hoping to complete this week, and then I am off to Floyd, Virginia to paint with my fellow plein air painters in the Floyd Plein Air Festival. This is a week-long event of painting in the mountains, farmland, and vineyards in and around Floyd. I participated in the inaugural event a couple of years ago and we had lots of clouds, wind, and some rain. Here's hoping the weather is a little more cooperative this time around.