Morning Meadow; Blue Ridge Mountain landscape painting

I have been spending so much time doing small studies lately that it really felt good to do a big-honkin' painting in the studio of the beautiful Blue Ridge mountains. Ahhhh! Big canvas, big brushes, and lots of paint.

Okay, so this painting is 30x40"--not massive but respectably large for me. I've painted other variations of this scene before but they sold before I could get a high quality photograph taken of them. This snapshot is off somewhat and caught a bit of glare but I will post a better image once I've finished the painting (a bit more minor tweaking to do.) ***Update***This painting has sold, but you can see the finshed painting here.

I decided to try this with a limited palette of five colors (ultramarine blue, cadmium red light, alizarin crimson permanent, cadmium yellow light, pthalo green and white.)

Basically this is the palette Kevin Macpherson often cites in his very good book: Landscape Painting Inside & Out, (which I will write about more extensively in my next post.)

This pallette differs from the one that Kenn Backhaus uses that I had been experimenting with a couple of weeks ago painting on location in Easton Md. I rather find myself gravitating more towards the Macpherson palette, which varies the colors and omits the black. The jury is still out though and I will continue to experiment with both, as I do think I am learning a lot about color.

Dusk landscape oil painting; Between the Dark and the Daylight

This new oil painting is of the countryside near Staunton, Virginia. It captures my favorite time of day when the evening sky puts on a brilliant show.  It has been quite a while since I've been able to actually complete a studio oil painting. What can I say, it's been a hell of a summer! But I'm gearing up for the fall season so I am back at it. This painting is one of a new series I'm working on for a fall show about the "luminous landscape".  The title comes from a poem by Longfellow called "The Children's Hour" (one of my mother's favorite and oft quoted poems.) Please click on the image for pricing and additional information.

"Between the Dark and the Daylight" Oil on Canvas 24" x 20"

Plein air painting in Maymont Park

It was such a beautiful morning (and uncharacteristically NOT humid!) that I went down to Maymont Park to paint the crepe myrtles in full bloom. I was dissuaded from heading into the main part of the park because several busloads of people were unloading themselves at the entrance. Sometimes I don't care about the crowds but today I wasn't in the mood. So I looked around and saw a rather ignored (and slightly overgrown) little park just across the street with some nice pink crepe myrtles and a stone obelisk. I will probably touch this piece up a bit, so I am calling it a work in progress, though I consider it nearly completed on site. 

"Dooley Monument, Richmond" 12"x9" (work in progress)

I don't know if this obelisk has another name than the one I've given it. My research so far has turned up nothing on this specific monument, though the writing on the stone clearly honors Mr. James H. Dooley, benefactor of many charitable and civic causes in the City of Richmond and the former owner of the property that is now Maymont Park.

What attracted me to this particular scene was the vertical movement of the monument and the trees, countered by the horizontal shadows that spilled across the ground.

Watercolor/pen and ink - Ocracoke Lighthouse

Getting back to the topic of my recent visit to Ocracoke Island, here's another sketch from my travels. I haven't painted many lighthouses in my day (okay this is the first one!) but the lighthouse of Ocracoke is such a visible landmark on this tiny island. In fact it is also historically significant as is the second oldest operating lighthouse in the nation. (In case you're wondering, the oldest is the Sandy Hook Lighthouse in New Jersey.)

"Ocracoke Lighthouse" Original Watercolor & Ink on Paper

Ocracoke Watercolor art sketch: "Open For Business"

I previously mentioned that Ocracoke has a beautiful little harbor in the center of town called "Silver Lake". The hotel where we stayed had a view of Silver Lake Harbor, and and each morning we could sit outside,  sip our coffee and enjoy the peaceful relaxed beauty of scenes like this one:

"Open For Business" Watercolor & Ink on Paper

The only morning activity we saw was that of people strolling near the water, and fishermen quietly preparing their boats for the day's outing. But at one time this area was harassed by the infamous pirate known as Blackbeard. Blackbeard wreaked havoc all up and down the east coast and into the Caribbean. But his reign of terror was brought to an end when he was finally caught near Ocracoke by the British Navy in 1718.

Back from Ocracoke

Both painting and internet were sketchy down at Ocracoke, so this is a recap now that I'm back home. We really enjoyed our stay at Ocracoke! It has gained some popularity due to the great reviews of its pristine and natural beaches, but it remains a sleepy little 16 mile island only accesible by boat or ferry. No McDonald's or Starbucks there! Just lovely little harbors, small local restaurants, and shops ranging from artisan/galleries to a few peddaling souvenir schlock and surf gear. It is a great place to ride bikes, photograph, paint/sketch (if the wind is calmer) and watch the sunrise and sunsets. If you are into fishing, surfing and other watersports it seems like it is great for that too. We stayed in the village along Silverlake harbor and had all different kinds of weather. The last two days of our stay were absolutely gorgeous, though the wind was around 20-25 miles an hour so often that I decided to forgo the oil painting and stick to sketches like the one I did here of the Harbor:

"Flying Colors" Watercolor & Ink on Paper

Ocracoke- Painting in the Wind!

I don't know if you've been watching the HUGE storm pattern that has been tormenting the Southeast lately, but it's a doozie. Luckily, Ocracoke has had only a mild version of the storm that has wreaked havoc on its neighbors.

We have had sun, rain, sun, rain, clouds, sun and clouds.

Changing light and most especially wind are the nemesis of the plein air painter, but then again, that is part of the fun of it.  Here is a scene of the harbor on a sunny and very windy morning.

Obviously this painting isn't finished. In fact there is LOTS to do if I want to develop this piece. The mast and water need work, as does some shading on the boat. But considering that I had to catch my panel mid-air!! before it went splat in the sand due to the high wind (did I say this was fun?!)  I think I got a fairly good impression of my subject matter. In any event, my companion seemed much more interested in his plastic water bottle-toy, and pretty much unfazed by all of my antics (alas, we were never properly introduced!)

Aside from the wind and a few moments of summer showers, we've made out pretty well. Noses are sunburned, and we've enjoyed the wild beauty of this area. The beaches aren't too bad either!

Ocracoke Island

Yes, I am still here! Not much opportunity to post new work yet because this week turned into "clean the studio and ship paintings" week. And today we are heading out to Ocracoke Island for what we hope will be a long relaxing weekend.  We have been to the Outer Banks of North Carolina (Nags Head, Corolla) many times, but I have always wanted to go to Ocracoke and have never gotten around to it, as it is about a 40 minute ferry ride from Hatteras. From all accounts the word most often used is "quaint" in describing this island village. It is a very natural beach with no major hotels or developments -- a real rarity these days. And for what it's worth, "Dr. Beach" has this year rated Ocracoke #1 as the best swimming beach nationally.

We're driving so I can load up the van with my paint gear! Hooray! Hope to post whatever plein air paintings and sketches I do while there.

Art Sketch: Southern Welcome

Here is another watercolor/pen and ink sketch of yet another Key West conch house. One day I will paint something else when I'm in Key West! But for now I am stuck on these houses and I always feel that it is better to choose a subject that excites me:

"Southern Welcome" Watercolor/Pen & Ink on Paper Image size 6x8"

I am really enjoying these watercolor sketches. I have always sketched and have done little watercolor/pen and inks for a while. But I haven't shown much until recently because they were really for my own amusement, and, having been so immersed in oil painting these last 12 or so years, I never really considered myself a watercolorist.

At one of our recent openings at the gallery my husband said, "Why don't you show some of these? They're neat!" I have learned to listen to him (sometimes, and/or eventually), so I put some out (eventually). To my surprise they got a great response.

So in light of this I added a new section to my website for the sketches. I hope to expand these small, intimate pieces to include other mediums, but for now I am sharing the little watercolors. I will post them here on the blog as a first offering, and then add them to the website gallery page as time permits.

Art Sketch- Key West Hideaway

This is a little watercolor sketch of the conch houses that have become one of my favorite subjects when painting down in Key West. To me these little bungalows encapuslate that feeling of a tropical getaway. Many are relatively small simple structures but they are adorned with an abundance of tropical foliage that add shade and splashes of brilliant color. Unfortunately a fixer upper sells for around 1/2 a million dollars, so for now I just satisfy myself with painting them!

 

"Key West Hideaway" Watercolor/Pen & Ink on Paper Image size: 6x8"

Spring in Bloom

Here is a recent painting done on location at the Tuckahoe Plantation in Richmond, Virginia.

 

"Spring in Bloom" Oil on Canvas, 12x16"

The Tuckahoe is a small plantation that once was the boyhood home of Thomas Jefferson. Today one can take a self guided tour and explore the lovely grounds and gardens.

I have painted this particular garden several times in the summer but got there a little earlier so that I could see some of the spring blooms. This painting is part of a my current exhibit entitled "En Plein Air", now showing at Jennifer Young Studio & Gallery.

Freshly Gathered Hay

What is it about hay that makes me want to paint it? The most obvious reason, I suppose is the fascination I had the first time I say Monet's famous haystack series (Monet was truly the master at using color temperature to suggest lighting and time of day!) 

It could also be that, unlike cows, horses or other animated life forms, these heavy masses of hay don't move or walk away while you are trying to paint them to eat, well, hay! Hay bales to me represent that same kind of pastoral quietude though, and I love the way they catch the sunlight and shadow, and often cast a cool shadow of their own. Here is a little vignette I painted the other day en plein air. I was driving out to paint a beautiful garden at the Tuckahoe Plantation and I saw these hay bales along the way:

"Freshly Gathered Hay" Oil on Canvas, 8x10" $425 unframed or $495 framed

Plein air painting demonstration: Conclusion

Note: This is a four part plein air painting demonstration of my painting "Vineyard Patterns".  If you'd like to see this demonstration from the beginning, click here. 8. I really have to look hard to see the subtle variations in the green shades, but once I start painting in the ground and the vineyard, my picture begins to take shape.

9. The clouds called off their threats so I was able to relax a little and put the finishing touches on my painting right there on the spot.

"Vineyard Patterns" Oil on Canvas, 12x16"

My process for painting in the studio is very similar to my process on location. The exceptions are that I don't have size limitations, nor do I have to deal with the changing light, bugs, and sunburn! On the other hand, painting on location is an exhilarating challenge and helps me to develop my observation and decision making skills. It also gives a far better understanding of the play of light on the landscape.

Depending on the lighting conditions, color temperature changes dramatically. In a session of  changing light like the one I had, I needed to make a decision early on about which lighting condition I wanted to go with, and then commit that to memory in case the sun went away completely!

Painting on location, (or "en plein air", as the Impressionists used to say) is a wonderful complement to my studio work. I often use my plein air sketches and studies along with the many, many photos I take on site, to develop larger paintings in the studio.

Note: This is a four part plein air painting demonstration of my painting "Vineyard Patterns".  If you'd like to see this demonstration from the beginning, click here.

Plein air painting demonstration: Part III

Note: This is a four part plein air painting demonstration of my painting "Vineyard Patterns".  If you'd like to start at the beginning, click here. You can see the rest of the demo at the following link:  Part IV (conclusion). I look again at my subject and notice a little tree in the field. To be honest, I am not sure that I had noticed it before. I decide to play up this element and use this as my focal point or center of interest:

The light is really changing a lot now. Sun shines intermittently on my scene, but behind me there are some pretty threatening clouds. I decide I had better not dawdle around any more if I want to get this painting finished!

6. To help my process along, I try and pre-mix large piles of the various colors I see in the rest of the landscape.

7. I add a little more detail to the focal point tree than I do the background trees, which will help to push the little tree forward in the picture plane.

Stay tuned for the conclusion!

Note: This is a four part plein air painting demonstration of my painting "Vineyard Patterns".  If you'd like to start at the beginning, click here. You can see the rest of the demo at the following link:  Part IV (conclusion).

Plein air painting demonstration- Part II

Note: This is a four part plein air painting demonstration of my painting "Vineyard Patterns".  If you'd like to start at the beginning, click here. You can see the rest of the demo at the following links:  Part III, Part IV (conclusion). 3. Lay in the sky: I like to lay in the sky as early as possible in my process. The sky is the source of light and generally it appears to have the lightest tonal value in most landscape paintings. By laying in the lightest value first I can more easily judge value relationships (the relationship between lights and darks) for the rest of the painting.

4.  With my sky in place, I can now judge how dark the mountain range should be. I begin to block in the distant mountains and trees, still with very little detail.

5. After I've blocked in the distant trees I step back and begin to reassess my composition. What is my focal point? The eye tends to like to zoom in on something when looking at a composition, and up to this point I've been focusing more on the abstract shapes of the vineyard to move the eye around the painting. This is good, but is there something more? I'll let you know what I decide in the next installment!

Note: This is a four part plein air painting demonstration of my painting "Vineyard Patterns".  If you'd like to start at the beginning, click here. You can see the rest of the demo at the following links:  Part III, Part IV (conclusion).

My Approach to Painting on Location (a demo)

Note: This is a four part plein air painting demonstration of my painting "Vineyard Patterns".You can see the rest of the demo at the following links: Part II, Part III, Part IV (conclusion). 1. Step one: Choose a scene.

I often head out to the Virginia mountains to do some plein air painting, and on a morning last week I visited Veritas Vineyards in Afton Virginia. This is a beautiful winery and there are many possibilities for painting subject matter. However, my umbrella broke and I hadn't yet purchased a new one, which can make painting on location in an open field a bit difficult. If the sun is shining directly on your canvas, all you see is a bunch of glare and your paintings end up turning out way to dark and muddy as a result.

Having said that, I can't stress enough how important it is to take the time to choose a scene that excites and interests you. You have a better chance of producing a much better painting as a result. Luckily I came upon a nice shady spot in a private area off of the main road past the winery's tasting room and became excited about this scene:

Okay, so it loses something in my photograph, perhaps! But what I liked about this scene was the abstract shapes and patterns formed by the sweeping lines of the vines and ground. The light was constantly going back and forth behind cloud masses, making painting with consistent lighting very difficult. But that is the fun challenge of painting on location!

2. Lay out the design.

My paintings usually begin very inauspiciously, I'm afraid! All I want to do at this point is plan my layout and get the elements of the scene down in very abstract shapes.

As you can plainly see, I have to work quickly with the changing light, so I don't do a lot of detailed drawing. In fact, I'd say I do far fewer details in the plein air drawing stage than I do in the studio, and if any one were to come upon my painting at this stage they would hardly be impressed! But the marks mean something to me, and I guess that's what matters. In the coming days I will continue to unfold this plein air painting demo, so stay tuned!

Note: This is a four part plein air painting demonstration of my painting "Vineyard Patterns". You can see the rest of the demo at the following links: Part II, Part III, Part IV (conclusion).

The Family Cabin

I have taken some time this week to enjoy the weather and do some plein air painting in the mountains around Crozet, Virginia. This is an afternoon painting of a family cabin near a fish pond on the grounds of a lovely local winery called King Family Vineyards. I will do a little more "finesse" work on this one before I call it done, but I thought I'd share it here so far. It measures 12x16" and is oil on canvas:

UPDATE: See the completed painting here.

Spring Finery

Here is a little plein air sketch I did the other day before going into the studio. This is a study of some sort of flowering (fruit?) tree blooming in all of it's spring finery right in my neighborhood.

 

Spring is definitely my favorite time in Virginia and it can be hard to come into the studio when the dogwoods and fruit trees are blooming.  When I'm called to both paint in the studio and paint en plein air, my compromise is to just try and do a little of each, even if it means just getting outside early in the morning. Eaaaarrrrly.

This painting measures 6x8" and sells for $325 unframed or $395 framed. For more information please contact me.

Simple Brilliance

Here's a plein air painting I did of a lovely little spot on Fleming Street. The bouganvellia is in full bloom everywhere. This is a beautiful time to be in Key West!

This piece measures 6x8" and is oil on canvas. For more information, please contact me.

The Window Above

It rained last night but by morning we had clear breezy air and bright blue skies. I wasn't sure what the wind was going to do, so we took care of some errands in the a.m. and then rented bikes to ride around the island. I am afraid I am not a very good biking buddy, because I kept yelling "STOP!" to Dave every 10 feet so that I could take pictures. That is only a slight exaggeration! Finally I couldn't stand it any more and I went back the room at our guesthouse and gathered up my paints. I left Dave to nap and swim in the pool while I found a nice shady spot with a big wide sidewalk to do a little plein air vignette. The whitewash on the fence and house proved to be a little blinding after staring at it for a while, but I got it down well enough I think. What drew me to this scene was the shadows on the very simple building and of course the vibrant bougainvellia and other tropical flowers and foliage.

This piece measures 6x8" and is oil on canvas. For more information, please contact me.