I attended the Forgotten Coast en Plein Air and Plein Air South again this May, taking time out for painting between demo’s and discussions. I practice painting en plein air to study the transient effects of light, to become more adept at composing, to learn more effective technique, and to develop a stronger instinct for decision-making. Many times a plein air painting will be worthy of framing. All are learning experiences. My intention is to study something different every time I paint, even when I paint a scene I have painted before. Every painting is making it easier to paint the next painting, but I challenge myself even more the next time, so I can’t say that painting is easy. I can say that I am seeing better.
I am happy to report that my Quickdraw painting, Scallop Republic Marsh, was selected by Quickdraw judge Lori Putnam to be one of the 40 on display throughout the Forgotten Coast event, and that it was purchased, as was Eastpoint Oyster Shack, one of my paintings in the Florida’s Finest en Plein Air Ambassador exhibit.
The more exciting news happened the week following the Forgotten Coast event, which was Plein Air South, a convention in the same location with back-to-back educational sessions, lectures, and demonstrations. Approximately 160 artists attended. We were invited to display up to 3 plein air paintings, the best to be selected by artists’ vote. I thought they were just going to award a Best in Show, but they also awarded second place, which one of my paintings won, Spring Dune at St. George Island, pictured below! I received $485 of paintbrushes from Rosemary & Co., my favorite brush manufacturer! (Iin addition to the $180 of brushes I had just purchased!) I don’t guess I will run out of brushes for a while!!
Below are the studies I painted over the two weeks, in between listening to the speakers and watching the demo’s. Click any photo to learn purchase information.
I have been in Apalachicola, Florida, for two weeks, immersed in plein air painting.The first 10 days were the Forgotten Coast en Plein Air, where some 25+ artists are invited to paint, demonstrate, and share their talents and stories, with hopes of generating sales of works produced throughout the event. The second 4 days were a convention of sorts called Plein Air South, with demo’s by multiple artists painting in the same general location at the same time, panel discussions, lunch-and-learn sessions, lectures, and paint-along sessions, from early morning to late evening, a marathon of learning, painting, and networking, generally refilling the well, creatively-speaking. One of the demonstrations I attended was given by Marsha Savage, who painted with soft pastels en plein air. Oil paint is my usual medium, but I like to explore other media for a change of pace. A month prior I had signed up for a local plein air pastels workshop which was scheduled two days after my return from Plein Air South, and although I was exhausted, I happily attended, freshly inspired in particular by the freshness of Marsha Savage’s pastel painting. The instructor of the local workshop was Fred Myers, who used to teach art at the University of Northern Colorado, where I received my art degree in the late 70’s. Fred was my favorite art professor, teaching figure drawing and painting. After his demonstration at this workshop, I made several thumbnail sketches of scenes, to study and figure out the darks and the lights, and I found my mind also wandering back to Marsha’s demo as I sketched. Then I tackled my subject, a gnarly, aged magnolia tree, covered with the buds of the blossoms that would surely be decorating it in the coming weeks. While the painting I produced is probably typical of the paintings I do, no doubt my work was influenced by having watched both Fred and Marsha work.
I think that every exposure to plein air painters and plein air painting brings me closer to the level of awareness that I strive for personally and in my paintings, which in this case was the mood of the tree scene. I had the overwhelming feeling that it was a good tree to sit underneath to think, perhaps even sharing its wisdom as well as its shade. It satisfied my compulsion, my need to paint, at least for that day.