Painting Larger Canvases Outdoors

Among the challenges I set for myself this summer is to paint larger plein air landscapes -- 16" x 20" and 20" x 20". I wanted to find out if I would be satisfied with pieces that were more loosely brushed and suggestive, to hopefully satisfy collector looking to fill more wall space, and to have a few paintings that would be focal points of an exhibition. As a result doing 6-8 larger paintings, I have established a way of covering more canvas real estate in 3-4 hours on location, balanced detail with gestured brush strokes, and overcome the intimidation of a large white surface.

The 20" x 20" painting of the waterfall in Shenandoah National Park was a greater challenge than I anticipated, mostly because I stupidly took the wrong trail and wound up hauling about 40 pounds of gear for several miles down to the falls. Nevertheless my stupidity could be excused by the sequence of photographs showing its development and by the success of completing the painting. To make me feel better, a woman who lives and works inside the park said I painted her favorite location. At least I stumbled into a picturesque setting.

The completed 20" x 20" painting oil painting

The painting of the path through the trees was painted near the first parking area going north into Shenandoah National Park. The scene called for a clear separation between the cool greens on the left and in the background and the warm trees leading diagonally into the space. I would have worked on this a bit longer, but as often happens at that elevation a storm moved in quickly, thunder demanded my attention, and heavy rains forced me to pack up and head for cover.

Working on a 16" x 20" painting of Blenheim Vineyard

A 16" x 20" painting created in Shenandoah National Park

When Plein Air Is a Start, Not a Finish

As I've been challenging myself to work larger on location -- up to 16" x 20" -- I get home with the paintings and immediately notice somethings that are obviously wrong or incomplete. The issues are usually about the range of values and their ability to convey the sense of space, or they relate to areas that aren't sufficiently developed. I find that I get so involved in covering the canvas it 2-3 hours, that I lose the ability to see the pictures objectivily. As I work on resolving those pictures in my studio, I remind myself there is nothing sacred about completing paintings on location. Plein air is a process of gaining inspiration and information from nature, but it isn't the only path to expressing what is observed.

Here's a sequential set of photographs of a painting I did recently on a hill overlooking Fishersville, VA. I'm still trying to decide how I want to resolve the lack of spatial separation and the awkward change of scale in the middle of the canvas, as well as the lack of harmony in the depiction of the houses.

Plein Air Events

I don't often get a chance to be a participant in a plein air event because I am too busy taking photographs of artists and collectors, but I was able to join a local event in Ossining, New York that took place at the Shattemuc Yacht Club along the Hudson River. The weather was perfect and the 30+ artists were great to meet, and I sold my painting of the boats and river. Not a bad way to enjoy a summer day!

Both paintings were done on 11" x 14" canvas-covered panels I toned with yellow ochre, and I added Liquin alkyd medium to my oil colors so the initial layers of paint would set up quickly enough for me to add details. I set up at 7am and waited to find out whether the overcast sky would clear up, but by 8am I made up my mind to take advantage of the subtle cloud shapes and occasional bursts of sunlight. 

Landscape Painting: Waterfalls

I recently made a road trip to Maryland, Virginia, and Georgia to photograph plein air events and was able to paint some of the waterfalls in the hills of Georgia north of Atlanta and in Virginia just south of Charlottesville. I put together a short audio slide show about the paintings.